
Part of the plan: Calgary's Devon Cole is moving beyond her 'TikTok Girly' fame
Devon Cole sat down recently and drew up a game plan for her career.
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It's a testament to her focus, ambition and confidence that she would not only engage in such an activity but be willing to share it openly when asked for details by a journalist.
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Perhaps it's a way of spurring herself on. But she is very specific about where she sees her music career going in the near and somewhat distant future.
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'I made a six-month plan, a one-year plan and a five-year plan,' says Cole, in a Zoom interview from her home in Los Angeles. 'I think it's important to know where I'm going and what I really want.'
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Her timeline is as follows: 'I'm going to release my album next year,' she says. 'I'm going to be a festival princess in 2027. I'm going to do the festival circuit for the first time. I'm going to do Coachella for the first time and Osheaga and whatnot and hopefully be Grammy-winning in five years. It's so interesting to manifest five years from now. Because, five years from now, all my dreams will come true and hopefully I'll be arena-playing. That's where I see myself.'
Cole, who was born and raised in Calgary, did not initially see music as a career option. In 2020, she was a psychology major at Queens University in Kingston and attended open-mic nights at local bars. But within a few years, she became a self-described 'TikTok girly' who went viral with the poppy feminist anthem W.I.T.C.H (Woman In Total Control of Herself), one of the tracks from her 2021 debut EP, Party for One. By 2023, she was a social media star, racking up millions of likes and hits on TikTok and other platforms. She was nominated for the Breakthrough Artist of the Year Juno in 2023 and eventually signed a major deal with Arista Records/Sony Music. After several singles, she released her second EP, Two Shades Blonder, in October 2024. Last summer, she moved to Los Angeles.
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Earlier this week, it was announced that she would be opening for her musical hero, Shania Twain, at the superstar's July 5 Stampede concert.
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She is currently writing songs for her debut full-length album. All in all, it seems as if things are well in hand. But while Cole's rapid ascension may seem overnight, she says there were bumps in the road.
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'My favourite quote is that it takes 10 years to become an overnight success,' she says. 'I think in the first five years that I've been doing this – I started releasing music in 2020 – the biggest learning has been this sense of confidence I have now and to trust my gut. Because I was trusting it in the beginning and I kind of fell out of touch with my gut, and I'm rebuilding that relationship.'
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Like many artists, it was a jarring transformation to go from penning songs by herself in her bedroom to being thrust into high-profile sessions after being signed. In between getting signed to Arista and recording her second EP, the company released several singles that Cole is not particularly enthusiastic about. While she doesn't want to single out which ones she is referring to – 'They are still my babies,' she says – the process of reclaiming her vision from the too-many-cooks-in-the-kitchen world of major labels has been part of her learning curve.
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Winnipeg Free Press
7 hours ago
- Winnipeg Free Press
‘Incredibly ambitious and probably really stupid': R.T. Thorne's sci-fi debut '40 Acres'
TORONTO – R.T. Thorne says he could have played it safe with his debut feature. Instead, he swung for the fences, writing an epic sci-fi thriller about generational trauma, cannibalism and humanity's connection with land — all set in what he calls 'a post-apocalyptic world where the stakes are at the absolute highest.' 'For my first film, it was incredibly ambitious and probably really stupid to write something like that,' the Calgary-born writer-director laughs in a recent video call from Toronto. '40 Acres,' out Friday, centres on a Black-Indigenous family in a famine-stricken future where a fungal pandemic has wiped out all animal life on the planet. When a marauding group of cannibals closes in on their farm, ex-military matriarch Hailey Freeman, played by Danielle Deadwyler, clashes with her son Manny, played by Toronto's Kataem O'Connor, over the best way to survive a world in ruins. Deadwyler says she was drawn to the film's historical context — the Freemans are the last descendants of a Black family of farmers who settled in Canada after the U.S. Civil War. 'The connection between the American and Canadian history of folks getting to this northern liberated land, it was very much on my mind,' the Atlanta native says in a recent video call Los Angeles. 'You can talk about the Underground Railroad for sure — there were people escaping who got (to Canada) and established themselves. When we think about Hailey, she is coming from a place where she understands the century-plus-long history of her family on the land that they are fighting for.' Michael Greyeyes, who plays Hailey's partner Galen, considers '40 Acres' an 'Indigenous rights film' because it centres on people fighting to stay on their land. 'If you look at the world in general, colonialism, empire and taking land away from Indigenous populations is an ongoing threat,' says the actor from Muskeg Lake Cree Nation in Saskatchewan, reached by Zoom in Winnipeg. 'Our film actually states that the land belongs to the caretakers and that we resist empire and we resist encroachment.' Thorne says the earliest seeds of the film were planted in something more intimate: a desire to channel his relationship with his mother. 'She ran a strict household. I grew up with somebody who was so concerned and so vital in teaching me how to move in the world and what she felt was important in the world,' he recalls. Thorne got his start directing music videos for artists including Sean Paul and Keshia Chanté before creating the 2020 sci-fi series 'Utopia Falls' and helming the 2022 period drama 'The Porter,' both of which aired on CBC. With '40 Acres,' he set out to explore 'the universal generational conflict that happens in every family: the parents think they know what it is and as the young people grow up, they want freedom.' But as a self-described 'dreamer,' his ambitions quickly grew, envisioning a do-or-die sci-fi future where that family tension could play out on a much larger canvas. Originally conceived seven years ago as a microbudget project through Telefilm's Talent to Watch program, the Sudbury, Ont.-shot film expanded in scale and scope to match Thorne's creative vision. There were some growing pains. Just after the film's premiere at the Toronto International Film Festival last September, the union representing crew members on the shoot issued a statement saying they were 'profoundly disappointed' that some crew and vendors had yet to be fully paid for their work on the production. IATSE — which represents behind-the-scenes workers across film, TV and theatre — says all outstanding payments have since been made. At a public event in Toronto last week, '40 Acres' producer Jennifer Holness addressed the situation by saying that just before filming began in fall 2023, a U.S. distributor that promised a minimum guarantee asked for script changes that would have 'damaged the film and our vision.' Holness said the team chose to walk away, leaving the production '$2 million in the hole.' With an initial $8 million budget — including $3.2 million in public funding from Telefilm — Holness said the production became a week-to-week financial struggle. 'Every single week after the third week of production, we were in a situation of, 'How do we get to the end of the week and pay everyone?'' she said. 'We did 12 weeks up there, and we paid our crew every single week on time. We, the producers, had to come together and invest in the film ourselves. It was a journey. It was an incredibly stressful journey.' Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. The film was picked up by U.S. distributor Magnolia earlier this year and heads to screens across North America this week. Thorne says all payment issues have been resolved and commends Holness for 'steadying the ship.' He adds there are many issues that occur during productions that people don't know about. 'You're always almost falling over to get it to the screen. The thing that I will say is that you come together as a community and you try to fix the mistakes and issues that you have and you make sure that people feel taken care of,' he says. 'And then you come out successful at the end when you do it. And the films that don't, you don't hear about them.' This report by The Canadian Press was first published July 3, 2025.


Toronto Sun
10 hours ago
- Toronto Sun
How 'Sorry, Baby's' Eva Victor made the year's most exciting debut
Published Jul 03, 2025 • 5 minute read Actor-director Eva Victor poses for a portrait to promote "Sorry, Baby" in New York. Photo by Matt Licari / Invision/AP The Oscar-winning producer of 'Moonlight' really wanted to get in touch with Eva Victor. This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. THIS ARTICLE IS FREE TO READ REGISTER TO UNLOCK. Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account Share your thoughts and join the conversation in the comments Enjoy additional articles per month Get email updates from your favourite authors Don't have an account? Create Account Adele Romanski and her producing partner Mark Ceryak were 'kind of obsessed' with the short, comedic videos Victor was putting out on various social media platforms. Titles of some that still exist online include 'when I definitely did not murder my husband' and a series called 'Eva vs. Anxiety.' Romanski and Ceryak started bugging their Pastel productions partner Barry Jenkins, certainly the most well-known name of the bunch, to make the first move and send Victor a direct message. But they had to ask themselves a big question first: Would that be weird? 'We had to negotiate whether or not that was appropriate for Barry, a married man, to send Eva a DM,' Romanski said. 'We were like 'yessss, do it!'' What started as a curiosity about a distinct voice, someone whose observations about the world and society were hilarious, sharp and undeniable, just a few years later would become one of the most exciting debuts in recent memory. 'Sorry, Baby,' which Victor wrote, directed and stars in, is a gentle film about trauma. It's also funny and strange and fresh, a wholly original statement from an artist with a vision. And there's a cat too. This advertisement has not loaded yet, but your article continues below. The film opens Friday in Toronto and expands nationwide in the coming weeks. A boost from Barry Jenkins It's a wild turn of events for Victor, who goes by they/she pronouns and who never dared to dream that they could possibly direct. Victor grew up in San Francisco in a family that cherished and pursued artistic endeavors, even if it wasn't their primary careers. At Northwestern University, Victor focused on playwriting _ it was something they could have control over while also pursuing acting. After college it was improv, writing for the satirical website Reductress ('Woman Seduced by Bangs Despite Knowing They're Bad for Her,' 'How to Cut Out All the People who are Not Obsessed with Your Dog'), some acting gigs, like a recurring role on the Showtime series 'Billions,' and social media, where their tweets and videos often went viral. Your noon-hour look at what's happening in Toronto and beyond. By signing up you consent to receive the above newsletter from Postmedia Network Inc. Please try again This advertisement has not loaded yet, but your article continues below. But there was an itch to work on something longer form, something beyond that immediate gratification of virality. Jenkins' message came at the right time. Then at Victor's first meeting at Pastel productions, he planted a seed of an idea: Maybe Victor was already a director. This image released by A24 shows Eva Victor in a scene from 'Sorry, Baby.' Photo by Mia Cioffy Henry / AP 'He said something that very profoundly impacted me: That the comedy videos I was doing were me directing without me realizing it,' Victor said. 'It was just a different scale. That kind of stuck with me.' 'Sorry, Baby' was born out of a personal story that Victor had wanted to write about for a while. After the general meeting, they had a renewed sense of purpose and went away one snowy winter to a cabin in Maine to write, with their cat, movies and books as companions. The screenplay, in which a New England graduate student named Agnes is assaulted by her thesis adviser, poured out of them. This advertisement has not loaded yet, but your article continues below. 'I wanted to make a film that was about feeling stuck when everyone around you keeps moving that didn't center any violence. The goal was to have the film and its structure support the time afterwards, not the actual experience,' Victor said. 'I really think the thing it's about is trying to heal and the slow pace at which healing comes and how it's really not linear and how there are joys to be found in the everyday and especially in very affirming friendships and sometimes, like, a sandwich depending on the day.' Somewhere along the way Victor started to also believe that they were the best person for the job. They were the only person standing in their way. 'The less focus there was on me as the creator of it, and the more focus there was on how to tell the story as effectively as possible, the more comfortable I became,' Victor said. 'I understood exactly what I wanted it to look and feel like.' This advertisement has not loaded yet, but your article continues below. Learning to direct But there was a lot to learn. Before the shoot, Victor also asked Jane Schoenbrun, who they'd met once for pie, if they could come to the 'I Saw the TV Glow' set to just watch. Schoenbrun said yes. 'It was a completely wonderful, transforming experience of friendship and learning,' Victor said. 'Jane is so confident about what they want in their films and it was a real honor to watch them so many decisions and stay so calm.' Empowered by what they'd seen, Victor assembled a 'dream team' of experts, like cinematographer Mia Cioffi Henry who also teaches at NYU and an editor, Alex O'Flinn, who teaches at UCLA. Victor rounded out the cast with Lucas Hedges, as a kind neighbor, 'Billions' alum Louis Cancelmi, as the thesis adviser, and Naomi Ackie as her best friend Lydie — the first person she talks to after the incident, the one who accompanies her to the hospital, and the one whose life doesn't stop. This advertisement has not loaded yet, but your article continues below. 'We built the schedule in a way that allowed us to have all our friendship fun scenes at first,' Victor said. 'We kind of got to go through the experience of building a friendship in real time.' Ackie immediately connected to the script and thought whoever wrote it, 'must be the coolest.' The reality of Victor, she said, did not disappoint. 'They don't realize how magnetic their openness is,' Ackie said. 'There's something extremely honest about them and curious and playful.' A Sundance sensation Romanski and everyone at Pastel productions knew they had something special, a gem even. 'They're chasing something tonally that I've never seen anybody go after before,' Romanski said. 'It's the blend of both a very, very specific, personal comedic tone and also a true sense of artistry.' This advertisement has not loaded yet, but your article continues below. But nothing's ever guaranteed until you put it in front of a public audience, which they did earlier this year at the Sundance Film Festival where it quickly became a breakout sensation, with standing ovations and the screenwriting award, whose past winners include Lisa Cholodenko, Kenneth Lonergan, Christopher Nolan and Debra Granik. 'You just don't know. Then on the other side, you know,' Romanski said. 'We felt it with 'Aftersun.' We felt it with 'Moonlight.' And we definitely felt it with 'Sorry, Baby.'' And like 'Aftersun' and 'Moonlight' before it, 'Sorry, Baby' also found a home with A24, which promised a theatrical release. Among the giants of the summer movie calendar, in which everything is big, bigger, biggest, 'Sorry, Baby' is the delicate discovery. 'I wanted it to exist in this space between reality and escape. I wanted it to be this immersive thing,' Victor said. 'It's a sensitive film. I hope it finds people when they need it. That's my biggest wish.' 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Winnipeg Free Press
18 hours ago
- Winnipeg Free Press
For Sean ‘Diddy' Combs, could a lesser conviction mean a greater public rehabilitation?
For nearly two years, a nearly nonstop parade of allegations and revelations has ravaged and unraveled Sean 'Diddy' Combs' carefully cultivated reputation as an affable celebrity entrepreneur, A-list party host, Grammy-winning artist and music executive, brand ambassador and reality TV star. It culminated in a verdict Wednesday that saw Combs acquitted of the most serious sex trafficking charges, though guilty of two lesser ones. The stratospheric heights of his previous life may be impossible to regain, but the question remains whether a partial conviction could mean a partial public rehabilitation, or if too much damage has been done. 'Combs managed to avoid becoming the next R. Kelly,' said Evan Nierman, CEO and president of crisis public relations firm Red Banyan, referring to the R&B superstar convicted of similar sex trafficking charges as those that Combs beat. Combs, 55, has yet to be sentenced and faces the likelihood of prison time, but he no longer faces the prospect of spending most of the rest of his life behind bars. While the law allows for a prison sentence of up to 10 years, the lawyers in the case said in court filings that guidelines suggest a term that could be as short as 21 months or last more than five years. 'This is a very positive outcome overall for him. And it does give him an opportunity to try to rebuild his life,' Nierman said. 'It won't be the same, but at least he's likely going to be out there in the world and able to move forward.' Moving on from the jokes that 'will haunt him forever' The case had a broad reach across media that made Combs a punchline as much as a villain. Talk shows, 'Saturday Night Live' and social media posters milked it for jokes about 'freak-offs' and the voluminous amounts of baby oil he had for the sex marathons. 'There are definitely terms which have now become part of the popular lexicon that never existed pre-Diddy trial, including things like 'freak-off,'' Nierman said. 'The images that were painted in the trial and some of the evidence that was introduced is going to stick with him for a long time.' Danny Deraney, who has worked in crisis communications for celebrities as CEO of Deraney Public Relations, agreed. 'The jokes will haunt him forever,' Deraney said. Managing public narratives — something Combs has previously excelled at — will be essential. He could cast himself as a tough survivor who took on the feds and came out ahead, or as a contrite Christian seeking redemption, or both. 'It's a powerful thing for the hip-hop mogul to go public and brag that he beat the rap and that the feds tried to come after him and they failed,' Nierman said. 'I could definitely see him leaning into that.' Nierman said the fight 'now will become part of the Sean Combs mythology.' Combs fell to his knees and prayed in the courtroom after he was acquitted Wednesday of sex trafficking and racketeering charges. The moment by all accounts was spontaneous but could also be read as the start of a revival narrative. 'No matter what you're accused of, it's what you do to redeem yourself on the way back,' Deraney said. 'Is he redeemable? Those are still heavy charges he was guilty of. It's tough to say; people have had these charges hanging over their heads and were able to move on.' The long fall Combs has been behind bars since his September arrest and will remain jailed while he awaits sentencing. His long reputational fall began when his former longtime girlfriend and R&B singer Cassie, the criminal trial's key witness, sued him in November 2023, alleging years of sexual and physical abuse. He settled the next day for $20 million, but the lawsuit set off a storm of similar allegations from other women and men. Most of the lawsuits are still pending. The Associated Press does not typically name people who say they have been sexually abused unless they come forward publicly, as Cassie, born Casandra Ventura, has. The revelation last year of a major federal sex trafficking investigation on the day of a bicoastal raid of Combs' houses took the allegations to another level of seriousness and public knowledge. The later revelation that feds had seized 1,000 bottles of baby oil and other lubricant entered the popular culture immediately. Fellow celebrities were called out for past Diddy associations — though no others were implicated in the criminal allegations. The May 2024 leak of a video of Combs beating Cassie in a Los Angeles hotel hallway eight years earlier was arguably just as damaging, if not more, than the initial wave of allegations. It brought a rare public apology, in an earnestly presented Instagram video two days later. Nierman called the video, shown at trial, 'something people aren't just going to forget.' Shortly after Combs' apology, New York City Mayor Eric Adams requested he return a key to the city he'd gotten at a ceremony in 2023. Howard University rescinded an honorary degree it had awarded him and ended a scholarship program in his name. He sold off his stake in Revolt, the media company he'd founded more than a decade earlier. Combs is not about to get the key, or the degree, back. But he could pick up the pieces of his reputation to salvage something from it. Deraney said it may require 'some kind of come-to-Jesus moment where he owns up to it.' 'Really what it's going to come down to is if he goes to prison, will it change him?' Deraney said. 'Has he changed at all during this whole processes? I don't know.'