It gets into its twentysomething characters’ heads in a way that’s fresh and real. You either get it, or you don’t
It’s been a while since a TV show came along that people leaned into losing their minds about, but finally, and after a year of otherwise mediocre programming, we have one. I Love LA, the HBO comedy set among wannabe gen Z influencers, is only halfway through its eight-episode run, but it is already comfortably the best show of the year. And more importantly, it has triggered all the signifiers of event TV: obsessive repeat viewings, line-by-line coverage, big platform profiles of its stars and weekly recaps on Vulture, New York magazine’s website. Within days of each episode airing, people have transcribed and uploaded the entire script, which – with the best will in the world – no one’s doing for Riot Women.
The surprising thing about this is not the fact that it’s the first show by Rachel Sennott, the show’s 30-year-old creator and star, or that the action takes place in a tiny world in east LA, but that content about influencers can be watchable at all. To date, millennial and older writers have tended to use social media as a lumbering plot device – oh my God, something’s gone “viral!” – or as a stand-in for the collapse of all known standards. You probably haven’t watched these because nobody did, but take your pick from: HBO’s one-season disaster The Girls on the Bus, in which an old-media reporter covers a US election race only to find that influencers – those pesky kids! – have stolen her patch. Or the equally horrific Netflix flop Girlboss, loosely based on the memoirs of Sophia Amoruso, the early influencer, and which not even a cameo by Cole Escola could save. Or Flack, the deathly Anna Paquin-fronted show about publicists trying to manage their clients’ social media, and an early red flag for which was the use of the word “maven” in the show’s publicity.
Emma Brockes is a Guardian columnist
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