Sonia Dhillon Tully

Tully's first screen credit came in the early Canadian drama Side Effects, in an episode titled 'Father Knows Best,' where she appeared as an attendant — a small role, but a real one, and the kind of ground-floor credit that most working actors have buried somewhere in their IMDb page (TMDB). From there she moved through various film and television projects in the late 1990s, including The Perfect Son (2000), before her acting career paused as she redirected her energy toward yoga and wellness. The detour was long — roughly 14 years — but it didn't erase what she'd built. When she returned to acting in 2014 (TMDB), she came back with more range than most actors who'd stayed the course. Brown Girl Begins (2017) and From the Vine (2019) mark the mid-period of her return, both Canadian productions that gave her space to work in character-driven material. Then came the higher-profile streaming work: Locke & Key (2020) on Netflix, Wedding Season (2022), and The Changeling (2023) on Apple TV+. Three different tones, three different production scales. She handled them. The thing nobody mentions about actors who take long breaks is that coming back at all requires a specific kind of stubbornness — you don't just walk back onto a set after a decade-plus away without having to re-prove yourself to a new generation of casting directors. Tully did exactly that. Her upcoming project, Raptus (2025), has her playing a character named Monique, which positions her in what looks like continued genre work. Whether that film lands or not, her trajectory since 2014 has been quietly consistent in a way that tends to matter more over a long career than any single breakout moment.