CrossBinge
Finding 41.241 movie posters in the basement

Ashley Johnson

Ashley Johnson is an actor, born 1983.

Ashley Johnson was a child actor first, playing Chrissy Seaver on Growing Pains from 1990 to 1992, and she is one of the few of that cohort who neither vanished nor made a public project of having survived it. She simply kept working, and the more interesting half of her career happened in rooms with a microphone in them.

Voice work is where she is most valuable. She was Gretchen on Recess, Terra on Teen Titans, Gwen Tennyson across the Ben 10 series, Tulip and Lake on Infinity Train, and she provided the voice and performance capture for Ellie in The Last of Us, which is the most demanding thing on her record and the reason a generation knows her without recognising her face. The common thread is that she plays clever, slightly abrasive girls who are not asking to be liked, and she never sweetens them.

On camera she has had two long runs, Amber Ahmed on The Killing and Patterson on Blindspot from 2015 to 2020, plus small parts in The Help and What Women Want and a few well-remembered seconds in The Avengers as the waitress the film cuts to when it needs a human scale. Since 2015 she has been a cast member on Critical Role, the Dungeons and Dragons stream whose campaigns have since been adapted into animation as The Legend of Vox Machina and The Mighty Nein. She became president of its charity foundation when that launched in 2020, which is an unusual second job for a working actor and tells you something about where her attention actually is.

Movies (23)

TV (36)

Where to start with Ashley Johnson

The Legend of Vox Machina is the best introduction, because it is her voice work with the fewest barriers to entry: no eighty-hour campaign required, and her character is the emotional anchor of a show that is otherwise mostly gore jokes.

If it lands, Critical Role itself is the source, an enormous time commitment that people make happily. For the on-camera career, Blindspot gives her the most screen time and a character built for her register, the technician who is smarter than everyone in the room and mildly annoyed about it. The Killing is the better drama and the smaller part. Infinity Train is the one to push on anyone who thinks children's animation is beneath them. And What Women Want is the curiosity: a teenager holding her own opposite Mel Gibson at the peak of his stardom.

Critical Role and the animated spin-offs

The Dungeons and Dragons show that turned into a studio. The Legend of Vox Machina is the animated adaptation of the first campaign and the easiest entry point if hundreds of hours of live play is too much to face. Candela Obscura is the newer, more gothic system.

The voice work

She has been a working voice actor since childhood, and Infinity Train is the best-written thing on the list, a series that got better every season until it was cancelled. Recess and the Ben 10 shows are the long-running ones that a generation grew up on.

The live-action roles

Five seasons of Blindspot is the biggest live-action role, but The Killing is the better performance. She started on Growing Pains as a child, and Much Ado About Nothing is the black-and-white Shakespeare adaptation shot in a director's own house in twelve days.

Genres Ashley Johnson works in