Personal details
- Professions: Producer
Scott Levenson’s name floats around in indie film circles, and honestly, for good reason. He’s popped up in some wild rides—King Cobra (2016), for example, isn’t just your typical crime-drama. That one’s got murder, porn industry secrets, and James Franco doing his thing. It’s based on a true story too, which somehow makes it even more insane. The whole movie’s this trip into the seedy underbelly of the adult entertainment world, and Levenson’s involvement puts him smack in the middle of all that chaos, which, let’s be real, is both disturbing and kind of fascinating. Then there’s G.B.F. (2013), and man, talk about switching gears. This one’s a high school comedy with a satirical bite—it’s all about the social politics of being the “gay best friend” in a sea of cliques and queen bees. The movie’s sharp, a little sassy, and doesn’t shy away from poking fun at stereotypes. You can feel the energy of the cast, and the writing’s actually clever—think Mean Girls with a modern twist. And don’t sleep on Jack Goes Home (2016) either. That movie’s a psychological thriller, dark and twisty, with a grieving protagonist who starts digging up family secrets after his dad dies. It’s got this uncomfortable, almost claustrophobic vibe, and Levenson’s touch helps keep things feeling uncomfortably real. So, yeah—Scott Levenson’s filmography doesn’t mess around. Each project is its own little universe, and he’s out there making sure things get weird, wild, or just plain memorable.
Democratic strategistnnJack Stanton's running for president, and he’s not exactly squeaky clean. The guy’s charming as hell—think Southern drawl, handshakes, baby-kissing, all that jazz—but he’s got baggage. Affairs, rumors, the whole nine yards. Enter Henry Burton, the idealistic campaign manager who gets sucked into the madness. The campaign trail’s basically a circus: media sharks circling, backstabbing from the inside, secrets leaking left and right. Everyone’s got their own agenda, and trust is pretty much a rare currency. Politics here is messy, personal, and honestly kind of exhausting. Stanton tries to juggle damage control and public image, while his team just tries to keep the whole campaign from crashing and burning. It’s a wild ride full of moral gray areas, questionable choices, and more than a few moments where you wonder—does anyone in this game actually have clean hands, or is everyone just faking it for the cameras?
Konidela Ram Charan