The Wind Up – Watch News #326
By Mr Dimitri Tsilioris - News
Published: 26 May 2025
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Readtime: 8 min
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Welcome back to The Wind Up, our weekly series highlighting the newest watches of the past seven days. With Watches & Wonders 2025 now in the rear-view mirror, it's time to set our sights on the future. The world's biggest brands are back on the design block, unveiling a string of incredible haute horology pieces, daily drivers and unique novelties.
From dive watches and sports timepieces to the latest in classy dress watches and grand complications, the last few weeks have offered no shortage of stand-out announcements. What's more, it isn't over yet. This week, the world's biggest watchmakers—and a few budding independents—kept the good vibes rolling. In this latest instalment, we'll be featuring some of the coolest new watches, including releases from the likes of Breguet, IWC Schaffhausen and even a special art installation on behalf of TAG Heuer. Happy reading, fellas, and I hope you have a great week ahead.
Werner Bronkhorst at the new TAG Heuer Sydney Boutique | Image: TAG Heuer
TAG Heuer x Werner Bronkhorst
Continuing TAG Heuer's motorsports celebrations for this year, the Swiss watchmaker unveiled a new multi-dimensional artwork created in collaboration with acclaimed contemporary visual artist, Werner Bronkhorst. Sitting pride of place in the recently renovated flagship Sydney boutique, the triptych of artworks pays tribute to TAG Heuer's indelible legacy in the world of motor racing and Formula 1.
In the first piece, Bronkhorst captures the essence of the TAG Heuer x F1 partnership through a textured canvas adorned with a detailed outline of the Red Bull Ring, located in Spielberg and hosting the Austrian Grand Prix each year. A series of precise miniature paintings of the Red Bull racing cars are scattered along the track, illustrating the brand's existing partnership with the reigning Driver's Championship-winning team.
The second piece focuses on the Porsche 917K, a model made famous by Steve McQueen in the 1971 film Le Mans. In that iconic film, McQueen portrays an endurance racer who, by virtue of real-life driver turned instructor Jo Siffert, has a penchant for the TAG Heuer Monaco. Featuring the classic orange and blue livery with miniature Porsche 917K cars on the Monaco Grand Prix Circuit, the sculpture celebrates TAG Heuer's heritage and its continued presence within motor racing as the title sponsor of the Formula 1 TAG Heuer Grand Prix De Monaco 2025.
Finally, Bronkhorst's Porsche 911 sculpture provides a local connection, celebrating the first race of the 2025 Formula 1 season at Melbourne's Albert Park and TAG Heuer's announcement as the official timekeeper. The sculpture features the red-painted racetrack and miniature paintings of Porsche 911 cars, representing the global TAG Heuer Porsche partnership that began in 2021.
'TAG Heuer's proud history in motorsports is brilliantly captured in Werner Bronkhorst's artwork,' TAG Heuer Australia and New Zealand general manager Van Mulryan said. 'His storytelling approach, connecting all facets of our racing heritage, reflects a genuine passion. As the final touch to our renovated Sydney Boutique, we're delighted to display this piece, so our clients can experience this storytelling firsthand.'
You can now check out Werner Bronkhorst's installation at the TAG Heuer Sydney Boutique for yourself. The installation was completed on May 22, the commencement date of the Formula 1 TAG Heuer Grand Prix De Monaco.
IWC Big Pilot Perpetual Calendar Tourbillon Le Petit Prince | Image: IWC Schaffhausen
IWC Big Pilot Perpetual Calendar Tourbillon Le Petit Prince
Brand: IWC
IWC Model: Big Pilot Perpetual Calendar Tourbillon Le Petit Prince
Big Pilot Perpetual Calendar Tourbillon Le Petit Prince Reference: Ref. IW504901
Ref. IW504901 Diameter: 46.50mm
46.50mm Thickness: 16.18mm
16.18mm Material : Ceramic
: Ceramic Movement : Calibre 51950
: Calibre 51950 Power Reserve: 168 hours
168 hours Water Resistance: 100 metres
100 metres Price: CHF100,000 (Limited to 100 pieces)
IWC unveiled its latest and greatest in the new Big Pilot Perpetual Calendar Tourbillon Le Petit Prince. Clad in blue ceramic and featuring a whopping big tourbillon at 12 o'clock, the Big Pilot Perpetual Calendar Tourbillon Le Petit Prince is, despite what the name might suggest, anything but petite. It measures 46.50mm across by 16.18mm in thickness, and boasts a perpetual calendar along with a tourbillon and comes strapped on textured rubber.
The Big Pilot Perpetual Calendar Tourbillon Le Petit Prince in blue ceramic is as striking as it is boisterous. I love the gold crown, a staple for all of IWC's Big Pilot watches. While its aesthetic is far from subtle, the combination of gold and blue paired with two high-complication functions is an absolute win in my book.
Zenith Chronomaster Original Triple Calendar Lapis Lazuli | Image: Zenith
Zenith Chronomaster Original Triple Calendar Lapis Lazuli
Brand: Zenith
Zenith Model: Chronomaster Original Triple Calendar Lapis Lazuli
Chronomaster Original Triple Calendar Lapis Lazuli Reference: Ref. 03.3400.3610/51.C910
Ref. 03.3400.3610/51.C910 Diameter: 38mm
38mm Thickness: 14mm
14mm Material : Stainless steel
: Stainless steel Movement: El Primero 3610
El Primero 3610 Power Reserve: 60 hours
60 hours Water Resistance: 50 metres
50 metres Price: USD$22,700
Wow, what a standout. Zenith's Chronomaster Original Triple Calendar is by far my favourite reference from the maison, and in its latest iteration, the Chronomaster Original Triple Calendar absolutely shines. This reference continues Zenith's blue theme for its 160th anniversary with a stunning lapis lazuli dial, the same stone found on the new G.F.J released at Watches And Wonders 2025.
Proportion and construction-wise, Zenith hasn't toyed with the process too much, opting to retain the same 38mm diameter size, 14mm thickness and 46mm lug-to-lug properties. The lapis lazuli dial looks exceptional and serves as the perfect backdrop to the Chronomaster Original Triple Calendar's functions and layout. Similarly, the typical El Primero tri-compax layout remains with a chronograph seconds counter subdial at 3 o'clock, a 60-minute chronograph totaliser with a moon-phase aperture at 6 o'clock and a running seconds subdial at 9 o'clock.
Most importantly, the use of the new stone dial looks every bit a winner, fusing unique design language with heritage inspiration. Make no mistake, Zenith has gone to town with the Chronomaster Original Triple Calendar, packing it with bucket loads of data and tech into a case that isn't overly large at all. Pair that with the lapis lazuli dial, and we have a solid winner from Zenith, which seems to be the trend as of late.
MB&F SP One | Image: MB&F
MB&F SP One
Brand: MB&F
MB&F Model: SP One
SP One Diameter: 38mm
38mm Thickness: 12mm
12mm Material : Platinum; Rose gold
: Platinum; Rose gold Movement: Calibre SP One
Calibre SP One Power Reserve: 72 hours
72 hours Water Resistance: 30 metres
30 metres Price: CHF63,000 (Platinum); CHF58,000 (Rose gold)
Max Busser and friends can do no wrong, and with the SP One, we not only get a new watch at a nice price point but also (potentially) a whole new collection of watches. The brand's latest release, which is available in either platinum or rose gold, could well be its most impressive in both design and functionality. With the SP One, we have a virtually open-worked dial with minimal architecture on display.
At 38mm in diameter and 12mm thick, the new timepiece isn't exactly slim by traditional dress watch metrics, but the unique openworked construction makes it appear more streamlined than it actually is. What's more, MB&F watches aren't known for refined form factors, so the new proportions do feel like an important and entirely welcomed departure from the norm.
MB&F's in-house calibre, eponymously named after the watch it powers, powers the SP One. The SP One is interesting because it's very dissimilar to anything MB&F has produced in the past, yet it looks as much an MB&F as any other watch the Maison has made, if that makes sense. The airy structure might be a bit much, but I really like it.
Breguet Tradition Seconde Rétrograde | Image: Breguet
Breguet Tradition Seconde Rétrograde
Brand: Breguet
Breguet Model: Tradition Seconde Rétrograde
Tradition Seconde Rétrograde Reference: Ref. 7035BH/H2/9V6
Ref. 7035BH/H2/9V6 Diameter: 38mm
38mm Thickness: 12.60mm
12.60mm Material : Breguet gold
: Breguet gold Movement: Calibre 505SR
Calibre 505SR Power Reserve: 50 hours
50 hours Water Resistance: 30 metres
30 metres Price: AUD$74,600 (Limited to 250 pieces)
After dropping a stunning Classique Souscription 2025 last month, Breguet's birthday celebrations are in full swing, with the heritage watchmaker dropping a new Tradition Seconde Rétrograde to mark its 250th anniversary. Clad in Breguet gold and featuring a flinque enamel dial, the Tradition Seconde Rétrograde is everything that we know and love about Breguet, just made better.
Taking design cues from the maison's revered collection of established timepieces, the latest novelty arrives in a safe 38mm case made from Breguet Gold. Created especially for the anniversary celebrations from a blend of gold, silver, copper, and palladium, the bespoke alloy lands in the sweet spot between traditional yellow gold and more contemporary rose gold hues. It is, to put it simply, stunning, and it's a similar story on the dial.
The Tradition Seconde Rétrograde features an intricately designed engine-turned dial crafted from gold and decorated in flinque enamel. Throw in the classic Breguet hands and numerals, and you've got a remarkable timepiece that pays homage to the most important name in modern watchmaking. The Breguet Tradition Seconde Rétrograde 7035 is limited to just 250 pieces worldwide and priced at a stellar AUD$74,600.
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Sydney Morning Herald
5 hours ago
- Sydney Morning Herald
The team behind Top Gun takes on F1 in this year's biggest blockbuster
Sitting in a hotel in 2023, Damson Idris had just landed the most important role of his life. Legendary producer Jerry Bruckheimer and director Joe Kosinski, the team who took over the box office (OK, and the world) with Top Gun: Maverick, wanted Idris for their high-stakes Formula 1 blockbuster, F1. Idris would play Joshua Pearce, a young gun rookie modelled on Lewis Hamilton (also a producer on the film), and Brad Pitt would play his team-mate and rival, Sonny Hayes, a grizzled veteran who returns to the sport to partner Pearce on the fictional APXGP team. As far as big breaks go, they don't come much bigger than this. So you'd imagine Idris' mind might be racing faster than the F1 car he didn't know how to drive (but would soon master). 'Not really,' deadpans Idris, speaking to me from South Africa, where he is shooting his next film. 'I was just consumed by one thought: I need to be faster than Brad Pitt.' Fast-forward a year or so, and after hundreds of hours on the practice circuit, seven months of training, more than a few crashes, several headaches, and roughly eight kilos lost purely from sweating on set, Idris learned a valuable lesson. 'Brad Pitt is annoyingly good at everything,' he laughs. 'And I mean everything: acting, racing, even walking. The way he walks on screen is second to none.' I mention that one of my favourite YouTube clips is a super cut of Brad Pitt eating in all his different films (it's called 15 Minutes of Brad Pitt Eating, and well worth a watch). 'Oh, don't worry, I've seen it,' says Idris. 'I attempted eating in one scene during F1, and they scrapped it, and you know what? Good on them. I'm with the greatest on-screen eater of all time. Come on, man, what were you thinking?' 'What were you thinking?' is a question I've been meaning to ask director Joseph Kosinski. In 2022, he helped 'save cinema' (Spielberg's words, not mine) with Top Gun: Maverick, a sweeping sequel to the 1986 original that was critically and commercially celebrated, grossing $1.496 billion worldwide at the box office. Such a feat warrants time off. A mini-break. Honestly, Joe, what were you thinking? 'Well, as with so many people, during the pandemic, I became obsessed with Drive to Survive on Netflix,' says Kosinski. 'I went to school for mechanical engineering and aerospace, so the way these cars work is fascinating to me, and then factor in the personalities and team dynamics, it's rich with story.' Pitt and Bruckheimer shared Kosinski's obsession, and they all agreed that if they were going to make a racing film, it had to look real. The first step was getting Formula 1 on board as an official partner on the film, with a view to embedding production in real Grand Prix races worldwide. Having seen F1's popularity surge following Netflix's Drive to Survive, CEO Stefano Domenicali was open to the idea but harboured concerns about how the sport would come across. Thankfully, super producer Jerry Bruckheimer is no stranger to sweet-talking nervy organisations. 'When I did the first Top Gun, the navy was worried about how they'd be portrayed, so Tom Cruise and I went to the US Naval Air Station North Island in San Diego to convince them it would be a good thing, and instead the admiral threw us off the base,' laughs Bruckheimer. 'So Tom went to Washington and met with the Secretary of the Navy at the time, and he understood what a movie could do for recruitment. We got to shoot Top Gun, and after it came out, naval recruitment went up 500%. Oh, and the other admiral was fired.' Bruckheimer's Top Gun -inspired pitch was enough to convince Domenicali, and the group secured Formula 1 as an official partner, allowing them to film at 14 Grand Prix events. Current F1 drivers, including our very own Oscar Piastri, agreed to appear. The next hurdle was figuring out how to bring the audience inside the chaos of a machine that can reach a top speed of 374.97 km/h. 'Cameras,' says Kosinski, perking up. 'And lots of them.' He's not lying. To ensure authenticity, the film's team, in collaboration with Mercedes-AMG and Formula 1 team engineers, built six F2 cars, which were then customised to resemble modern F1 cars. Each car came affixed with four IMAX-certified cameras in 15 possible positions, plus up to six additional cameras inside the car's cockpit. 'We worked closely with Sony, who created the cameras for Top Gun, to create a smaller version that would allow us to swivel between the driver and the track.' Kosinski is a self-described 'attention to detail fanatic,' meaning F1 would always look the part. However, few people know how it feels to race—the sounds, smells, noise, fury, joy, and heartbreak. Enter Lewis Hamilton. With seven World Drivers' Championship titles, Hamilton is the most successful F1 driver of all time (tied with Michael Schumacher), a driving prodigy who holds the records for most wins (105), pole positions (104), and podium finishes (202). He also happened to be the only driver Kosinski knew. 'We talked about casting him in Top Gun: Maverick; he's friends with Tom [Cruise]. We couldn't make it happen, but through that conversation, I had Lewis' email, so I asked for help, and straight away, he was on board,' says Kosinski. According to Bruckheimer, Hamilton wasn't shy of critiquing the film's inaccuracies during production. 'We were filming in Silverstone, where they host the British Grand Prix, and in turn three, Lewis could hear that we were in the wrong gear,' he says. 'Brad was in third gear, and you take that turn in second gear; not many people in the world would know that.' Aside from gear changes, Hamilton's insight as the first black driver to compete in the F1 proved invaluable to Idris. 'The beauty of this movie is that Lewis exists, and the barriers that he's broken down means Joshua Pearce can exist on screen too,' says Idris. 'We spoke about what it means to be an advocate without seeking out that label, so I modelled Joshua on Lewis.' On paper, F1 is the kind of film destined for success. A high-octane blockbuster based on a hugely popular sport featuring an all-star cast on screen and Hollywood heavyweights behind the scenes. However, in an increasingly competitive marketplace, films still need to be sold to audiences, which might be the one thing Brad Pitt isn't good at. Earlier this year, Bruckheimer attended Liberty Media's (the company that owns Formula One) investor day in New York. He discussed Pitt's reluctance to self-promote there, telling the crowd, 'He doesn't like to do press.' This approach is at odds with Bruckheimer's other most recent A-list collaborator, Tom Cruise, a famously shrewd marketing machine who boosts the profile of his films with attention-grabbing stunts and endless global press tours. However, with a reported budget of $463 million, Bruckheimer requires Pitt in full salesman mode ahead of the film's release. 'Brad has told me he loves the movie and wants to go out and support it, so he'll join us on the world tour.' As for Idris, he seems to be channelling the rookie energy of F1 's Joshua Pearce, all wide-eyed enthusiasm accompanied by mild disbelief that any of this is happening. 'To be talking about working with Brad Pitt on a Formula One movie still blows my mind,' he laughs. On the day we speak, it's announced that he will play jazz legend Miles Davis in the upcoming film Miles & Juliette. The movie will explore Davis's romance with French singer Juliette Gréco during his 1949 trip to Paris. Anamaria Vartolomei will portray Gréco, and the film is produced by Mick Jagger's company, Jagged Films. 'There are so many interesting icons out there that I want to pay homage to, and Miles was at the top of my list,' says Idris. 'This is my dream job, and I can't wait to stretch myself, show my range and learn the trumpet!'
The Age
5 hours ago
- The Age
The team behind Top Gun takes on F1 in this year's biggest blockbuster
Sitting in a hotel in 2023, Damson Idris had just landed the most important role of his life. Legendary producer Jerry Bruckheimer and director Joe Kosinski, the team who took over the box office (OK, and the world) with Top Gun: Maverick, wanted Idris for their high-stakes Formula 1 blockbuster, F1. Idris would play Joshua Pearce, a young gun rookie modelled on Lewis Hamilton (also a producer on the film), and Brad Pitt would play his team-mate and rival, Sonny Hayes, a grizzled veteran who returns to the sport to partner Pearce on the fictional APXGP team. As far as big breaks go, they don't come much bigger than this. So you'd imagine Idris' mind might be racing faster than the F1 car he didn't know how to drive (but would soon master). 'Not really,' deadpans Idris, speaking to me from South Africa, where he is shooting his next film. 'I was just consumed by one thought: I need to be faster than Brad Pitt.' Fast-forward a year or so, and after hundreds of hours on the practice circuit, seven months of training, more than a few crashes, several headaches, and roughly eight kilos lost purely from sweating on set, Idris learned a valuable lesson. 'Brad Pitt is annoyingly good at everything,' he laughs. 'And I mean everything: acting, racing, even walking. The way he walks on screen is second to none.' I mention that one of my favourite YouTube clips is a super cut of Brad Pitt eating in all his different films (it's called 15 Minutes of Brad Pitt Eating, and well worth a watch). 'Oh, don't worry, I've seen it,' says Idris. 'I attempted eating in one scene during F1, and they scrapped it, and you know what? Good on them. I'm with the greatest on-screen eater of all time. Come on, man, what were you thinking?' 'What were you thinking?' is a question I've been meaning to ask director Joseph Kosinski. In 2022, he helped 'save cinema' (Spielberg's words, not mine) with Top Gun: Maverick, a sweeping sequel to the 1986 original that was critically and commercially celebrated, grossing $1.496 billion worldwide at the box office. Such a feat warrants time off. A mini-break. Honestly, Joe, what were you thinking? 'Well, as with so many people, during the pandemic, I became obsessed with Drive to Survive on Netflix,' says Kosinski. 'I went to school for mechanical engineering and aerospace, so the way these cars work is fascinating to me, and then factor in the personalities and team dynamics, it's rich with story.' Pitt and Bruckheimer shared Kosinski's obsession, and they all agreed that if they were going to make a racing film, it had to look real. The first step was getting Formula 1 on board as an official partner on the film, with a view to embedding production in real Grand Prix races worldwide. Having seen F1's popularity surge following Netflix's Drive to Survive, CEO Stefano Domenicali was open to the idea but harboured concerns about how the sport would come across. Thankfully, super producer Jerry Bruckheimer is no stranger to sweet-talking nervy organisations. 'When I did the first Top Gun, the navy was worried about how they'd be portrayed, so Tom Cruise and I went to the US Naval Air Station North Island in San Diego to convince them it would be a good thing, and instead the admiral threw us off the base,' laughs Bruckheimer. 'So Tom went to Washington and met with the Secretary of the Navy at the time, and he understood what a movie could do for recruitment. We got to shoot Top Gun, and after it came out, naval recruitment went up 500%. Oh, and the other admiral was fired.' Bruckheimer's Top Gun -inspired pitch was enough to convince Domenicali, and the group secured Formula 1 as an official partner, allowing them to film at 14 Grand Prix events. Current F1 drivers, including our very own Oscar Piastri, agreed to appear. The next hurdle was figuring out how to bring the audience inside the chaos of a machine that can reach a top speed of 374.97 km/h. 'Cameras,' says Kosinski, perking up. 'And lots of them.' He's not lying. To ensure authenticity, the film's team, in collaboration with Mercedes-AMG and Formula 1 team engineers, built six F2 cars, which were then customised to resemble modern F1 cars. Each car came affixed with four IMAX-certified cameras in 15 possible positions, plus up to six additional cameras inside the car's cockpit. 'We worked closely with Sony, who created the cameras for Top Gun, to create a smaller version that would allow us to swivel between the driver and the track.' Kosinski is a self-described 'attention to detail fanatic,' meaning F1 would always look the part. However, few people know how it feels to race—the sounds, smells, noise, fury, joy, and heartbreak. Enter Lewis Hamilton. With seven World Drivers' Championship titles, Hamilton is the most successful F1 driver of all time (tied with Michael Schumacher), a driving prodigy who holds the records for most wins (105), pole positions (104), and podium finishes (202). He also happened to be the only driver Kosinski knew. 'We talked about casting him in Top Gun: Maverick; he's friends with Tom [Cruise]. We couldn't make it happen, but through that conversation, I had Lewis' email, so I asked for help, and straight away, he was on board,' says Kosinski. According to Bruckheimer, Hamilton wasn't shy of critiquing the film's inaccuracies during production. 'We were filming in Silverstone, where they host the British Grand Prix, and in turn three, Lewis could hear that we were in the wrong gear,' he says. 'Brad was in third gear, and you take that turn in second gear; not many people in the world would know that.' Aside from gear changes, Hamilton's insight as the first black driver to compete in the F1 proved invaluable to Idris. 'The beauty of this movie is that Lewis exists, and the barriers that he's broken down means Joshua Pearce can exist on screen too,' says Idris. 'We spoke about what it means to be an advocate without seeking out that label, so I modelled Joshua on Lewis.' On paper, F1 is the kind of film destined for success. A high-octane blockbuster based on a hugely popular sport featuring an all-star cast on screen and Hollywood heavyweights behind the scenes. However, in an increasingly competitive marketplace, films still need to be sold to audiences, which might be the one thing Brad Pitt isn't good at. Earlier this year, Bruckheimer attended Liberty Media's (the company that owns Formula One) investor day in New York. He discussed Pitt's reluctance to self-promote there, telling the crowd, 'He doesn't like to do press.' This approach is at odds with Bruckheimer's other most recent A-list collaborator, Tom Cruise, a famously shrewd marketing machine who boosts the profile of his films with attention-grabbing stunts and endless global press tours. However, with a reported budget of $463 million, Bruckheimer requires Pitt in full salesman mode ahead of the film's release. 'Brad has told me he loves the movie and wants to go out and support it, so he'll join us on the world tour.' As for Idris, he seems to be channelling the rookie energy of F1 's Joshua Pearce, all wide-eyed enthusiasm accompanied by mild disbelief that any of this is happening. 'To be talking about working with Brad Pitt on a Formula One movie still blows my mind,' he laughs. On the day we speak, it's announced that he will play jazz legend Miles Davis in the upcoming film Miles & Juliette. The movie will explore Davis's romance with French singer Juliette Gréco during his 1949 trip to Paris. Anamaria Vartolomei will portray Gréco, and the film is produced by Mick Jagger's company, Jagged Films. 'There are so many interesting icons out there that I want to pay homage to, and Miles was at the top of my list,' says Idris. 'This is my dream job, and I can't wait to stretch myself, show my range and learn the trumpet!'
Perth Now
2 days ago
- Perth Now
Miley Cyrus claims dad Billy Ray Cyrus 'smoked pot' on Hannah Montana set
Miley Cyrus claims her dad Billy Ray Cyrus "smoked pot" on the set of Hannah Montana - and she got the blame. The singer shot to fame playing a teenage school girl with a secret life as a pop star on the show - which ran between 2006 and 2011 - and she's now recalled her most "hilarious" memory from the series was when her country star father smoked a joint backstage and the blame fell on her. During an appearance on her mother Tish Cyrus and sister Brandi Cyrus' Sorry We're Cyrus podcast, was asked to share her funniest memory from the show and Miley explained: "Dad smoking pot and everyone blaming me for it. It's hilarious … He wasn't sharing 'cause Tish wasn't toking yet." Tish remembered the incident and revealed she did not believe Billy Ray - who she divorced in 2023 - was responsible and thought Miley's co-star Mitchel Musso was behind it. She said: "They were calling me, saying B-Ray was smoking pot, and I was saying: 'Absolutely not, he would never do that. It's Mitchel Musso!'" Miley added: "Well, it was Mitchel. It was Mitchel Musso! It was both." However, Mitchel - who played Oliver on the show - had different memories of the incident. In a statement to E! News, he said: "Well, that's not how I remember it. "However, I've got plenty of stories from those years that might be worth having a conversation about. If we're revisiting Hannah Montana history - just say the word. All love to Miley and the fam … even when the rewrites get this creative." During her appearance on the podcast, Miley also spoke about a recent incident in which her mother seemingly unfollowed her on Instagram after the singer went to see Billy Ray and sparked rumours of another family feud - but the singer revealed it was actually just a "bug" in the platform. Miley said: "If you were in the family or not in the family, it was weird timing. I went to see B-Ray, and you did mysteriously unfollow me - and then you got some backlash and suddenly knew how to press that follow button ... 'The truth is boring. There's a bug in Meta, it naturally unfollows the person that you follow with the most engagement … I was either, like: 'Mom lost her glasses and can't see,' which is what I thought happened. Then, there was actually a bug in Meta."
