Ashley Johnson is a talented American actress and voice actress who has appeared in a variety of television shows and movies. She made her acting debut in 1990 with a guest appearance on the popular sitcom, Growing Pains. Following this, she landed several small roles in films like Lionheart and Dancer, Texas Pop. 81. In 1994, Ashley's career took off when she was cast as Chrissy Seaver in the family sitcom, Growing Pains. Throughout her career, Ashley has worked in a range of genres and mediums, showcasing her versatility as an actress. She has received critical acclaim for her performances in projects such as What Women Want, The Help, and Blindspot. Ashley is also well known for her voice-over work, lending her voice to popular video game characters like Ellie in the award-winning game, The Last of Us and its sequel, The Last of Us Part II. She has also voiced characters in animated TV shows like Teen Titans Go!, The Avengers: Earth's Mightiest Heroes, and Ben 10: Alien Force.

Ashley Johnson is a talented American actress and voice actress who has appeared in a variety of television shows and movies. She made her acting debut in 1990 with a guest appearance on the popular sitcom, Growing Pains. Following this, she landed several small roles in films like Lionheart and Dancer, Texas Pop. 81. In 1994, Ashley's career took off when she was cast as Chrissy Seaver in the family sitcom, Growing Pains. Throughout her career, Ashley has worked in a range of genres and mediums, showcasing her versatility as an actress. She has received critical acclaim for her performances in projects such as What Women Want, The Help, and Blindspot. Ashley is also well known for her voice-over work, lending her voice to popular video game characters like Ellie in the award-winning game, The Last of Us and its sequel, The Last of Us Part II. She has also voiced characters in animated TV shows like Teen Titans Go!, The Avengers: Earth's Mightiest Heroes, and Ben 10: Alien Force.

The Last of Us Part II is the highly anticipated sequel to the critically acclaimed 2013 video game, The Last of Us. Developed by Naughty Dog and published by Sony Interactive Entertainment, The Last of Us Part II continues the story of Joel and Ellie after the events of the first game. Set five years later, players control Ellie as she navigates through a post-apocalyptic world that has been overrun by infected creatures. The game promises to deliver a deeper, more emotional story with further exploration of the game's themes of survival, love, and loss. The game received a great deal of hype leading up to its release, and upon its launch in June 2020, it was met with both critical acclaim and controversy. Many players praised the game for its stunning graphics, compelling story, and emotional resonance, while others criticized it for its divisive storyline choices. Despite its mixed reception, The Last of Us Part II has undoubtedly cemented itself as one of the most important and talked-about video games of the year, pushing the medium forward with its ambitious storytelling and technical achievements.

An introduction to the life of young film star Leonardo DiCaprio.

The notorious troublemaker Charlotte Charke worked as a novelist, autobiographer, and strolling actress. But it was as a cross-dresser -- both on stage and off -- that she scandalized eighteenth-century England. Known as Mr. Charles Brown, she lived openly with another woman for nearly a decade.Charke, daughter of Colley Cibber, the English playwright and poet laureate (1740), lived a life of masquerade. Her autobiography is a fascinating document of low- and middle-class life in the 1700s and is explored in some detail by Philip E. Baruth. Other contributors to this collection look at Charke, her famous family, and her place within stage and cross-dressing traditions. Felicity A. Nussbaum provides a thought-provoking afterword on the current state of Charke criticism.

A cumulative index to biographical material in books and magazines.

Widely regarded by critics and fans as one of the best games ever produced for the Sony Playstation, The Last of Us is remarkable for offering players a narratively rich experience within the parameters of cultural and gaming genres that often prioritize frenetic violence by straight white male heroes. The Last of Us is also a milestone among mainstream, big-budget (AAA) games because its development team self-consciously intervened in videogames’ historical exclusion of women and girls by creating complex and agentive female characters. The game’s co-protagonist, Ellie, is a teenage girl who is revealed to be queer in The Last of Us: Left Behind (DLC, 2014) and The Last of Us II (2020). Yet The Last of Us also centers Joel, Ellie’s fatherly protector. How is patriarchy, the rule of the father, encoded in rule-based systems like videogames? How does patriarchal rule become an algorithmic rule and vice-versa? These questions are at the heart of this book, the first comprehensive scholarly analysis of the zombie apocalypse/ action-adventure/ third-person shooter videogame The Last of Us (2013). On the one hand, the book is a close, extended study of The Last of Us and its themes, genres, procedures, and gameplay. On the other hand, the book is a post-GamerGate reflection on the political and ethical possibilities of progressive play in algorithmic mass culture, of which videogames are now the dominant form.