Angel Boris Bio
Angel Boris is an American actress, glamour and nude model. Born Angel Lynn Crownshaw on August 2, 1974, in Fort Lauderdale, Florida, she has also been credited as Angel Boris Reed and Angel Lynn Boris. Playboy named her its July 1996 Playmate at 21. Her appearance came during Playboy's 1990s print era, a period increasingly shaped by entertainment and celebrity culture.
Boris has natural breasts, hazel eyes and brown hair. Her measurements are 34-22-34.
Long before magazines and television picked up on her, Boris was already ingrained in performance. By her mid‑teens she had amassed an extraordinary run of pageant wins, studied drama, dance and voice at a Florida performing‑arts high school, and parlayed early commercial work into a SAG card after a national spot for Allstate. Those years in front of local audiences and production crews taught her how to move for the camera and how to turn brief moments on set into professional currency.
Her passage into national glamour came out of the swimwear circuit: a Venus Swimwear model search put her in front of a Playboy photographer, and the resulting centerfold, shot by Richard Fegley, opened the door to the magazine’s Special Editions and video projects. The pictorial images that followed emphasized an easy, sunlit sensuality rather than studio artifice, and they became a steady part of her modeling portfolio through the decade.
Los Angeles invited her next, and she translated magazine visibility into screen work. Early television bookings included a guest turn on the action series Viper and a five‑episode arc on Beverly Hills, 90210 as Emma Bennett, a journalist whose affair with Brandon Walsh created one of the show’s hairline ruptures. Daytime and sitcom appearances followed—General Hospital and The King of Queens among them—alongside a stint on the Playmate edition of Fear Factor, where she finished second.
On film she took roles across the independent and genre spectrum: Warlock III: The End of Innocence, March, Peak Experience and the independent feature The Still Life (as Cindy) are among the credits that balanced mainstream visibility with smaller, character work. She also turned up in music‑video projects, bringing that same practiced presence to shorter, noisier formats. Trained for the stage as much as the camera, Boris built a career that moved fluidly between modeling pages, television arcs and modest film work—an archive of images and credits that reflect both performance training and an aptitude for the camera.
