Miley Cyrus' Brother Trace Accuses Ex-Girlfriend Brenda Song of FAKING Pregnancy and Cancer: 'We Were Catching on...'
Trace Cyrus has made a major revelation about his ex-girlfriend, Brenda Song. The musician, who also happens to be Miley Cyrus' brother, took to his Instagram to share a list of lies that the actress told him while in a relationship from 2010 to 2017.
Cyrus also went on to mention that Song faked her pregnancy as well as her brain tumor while also stealing a thousand dollars from the Let's Run Away crooner.
Trace, in response to one of the users in the comment section of his post, revealed that the Suite Life of Zack and Cody star also faked her illness, convincing him and her family that the actress had breast cancer.
Trace Cyrus accuses Brenda Song of faking pregnancy, abortion and brain tumor
Trace, who dated the Disney alum for six years, went on to list Song's lies in the comment section after a user mentioned that the actress leaving the musician was a good riddance for her.
The Seventeen Forever singer responded, 'yes because she stole thousands of dollars from me and faked multiple pregnancies & lied about being terminally ill to make my family and I think she had breast cancer and a brain tumor.'
The musician also went on to state, 'It was all a lie; she was humiliated to show her face around my family again once we figured it out and my mom confronted her and called her out on all of it.'
Cyrus also went on to add that the actress spilled fake blood across the bathroom, after which he and his mother rushed her to the hospital. It was then that Song's lies were unraveled.
On a different occasion, the Prescriptions crooner also mentioned that Song pretended to have brain tumor surgery in Chicago. He revealed that his ex came in with a bandage across her head. When he removed it, no surgery had been performed.
Trace, however, provided no proof of his claims. He is known to rant on social media, as he did about his dad, Billy Ray Cyrus, previously.
Following her split from Cyrus, Brenda Song went on to date the Home Alone star, Macaulay Culkin. The duo also welcomed their two kids in 2021 and 2022, respectively.
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The Wire
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Few people are willing to compromise on preferences, making their mental checklists that much more knotty. 'I'm going to die alone!' exclaims more than one client to Lucy – a matchmaking specialist based in New York. Like Song's debut, Past Lives (2023), also set in the Big Apple minus the staple visuals of the Brooklyn Bridge or the Empire State building, Materialists also takes an off-centre approach despite being even more rooted in the NY rom-com genre, like The Devil Wears Prada (2002), 27 Dresses (2008), and more recently Set It Up (2018). Song is making a film about an underpaid female protagonist – somehow able to afford a smashing wardrobe, and incredibly expensive make-up – but while also bringing with it a surprising amount of heft. A still from the film 'Materialists'. Materialists is simultaneously a throwback and a contemporary deconstruction of the classic love triangle, something Hollywood studios would make more often a couple of decades ago. A broke theatre actor once, Lucy turns her attention towards her instincts at gauging people's interests and matching them with someone with a similar worldview. I can imagine a more mainstream version of this film – beginning with a montage of clients with outlandish demands (a closeted African-American lesbian seeking a conservative, church-going partner in NYC!) – but Song takes the opposite approach. She doesn't trivialise Lucy's vocation, instead opening with a client meeting with Sophie (Zoe Winters), to whom she has to deliver the bad news that there won't be a second date with the man she met the night before, who had made a good impression on her. Winters, who was earlier seen in hit TV show, Succession, is a major propelling force in the film, leaving an impact, despite appearing only briefly in three scenes. Hardened by her clients' laundry list of shallow attributes for a potential partner – ethnicity (white!), ageist (in their 20s), should be fit – make Lucy incredibly pragmatic in the way she views dating and marriage. She's certain she will marry rich, so it's no surprise then when Harry (Pedro Pascal) expresses his interest in her, she agrees to go out with him. Working in private equity, living in a $12 million penthouse in Tribeca, Harry is what Lucy describes as a 'unicorn' in her business. On the other hand is Lucy's ex-boyfriend – a wildly unsuccessful but painfully sincere John. In a splendid cut– showcasing the dissonant worlds of the two men – Song cuts from the jazz in the ballroom where Lucy was dancing with Harry, to the radio playing in John's old rickety car. I fell for Celine Song's film during a superbly-shot flashback around a lovers' quarrel. It's John and Lucy's fifth anniversary, and they're driving around Times Square looking for parking. They're deliberating over paying a parking fee of $25, or a late-fee at the fancy restaurant where Lucy has made a reservation for dinner. It's a seemingly ordinary moment when the quarrel boils over, and years worth of exasperation spills. John admits to not having money for parking, while also refusing to let Lucy pay for it. On the other side, Lucy is fed up with John always falling short of her expectations. She can't bear to see the judgement in his eyes, when she voices her desire for material comfort. He's the idealistic theatre actor trying his best to not 'sell out', instead focusing on creatively fulfilling work that doesn't support a steady, growing lifestyle. A still from the film 'Materialists'. This is one of many novel things about Song's film — how she packages the fairytale romance in Harry's portions, while routinely puncturing that make-believe world with John's gritty life bits. In a wonderful scene, Lucy admires Harry's effortlessness with which he calls for the check, and takes care of it in one swift movement. As much as the idealism of the 20s stresses on love, the older we get, the more we all get consumed by the material pleasures of life. Probably not wanting to think twice about taking a trip abroad, being able to eat at fancy places in town without sweating about the check, or living in an apartment in a posh locality. According to Song, romance has always been a barter. Someone exchanges their looks and/or temperament for wealth. Lucy sees the society as a marketplace, and everyone's value can be ascertained in the way they look, how much money they earn, how young or old they are. She's honest about her own assessment too, realising what she brings to the table isn't very much. So, after indulging Harry's singular attention for a few dates, she tries to dissuade him from seeing her, telling him he could do much better. Someone younger, with more money, and with a higher profile in society. As someone in her mid-30s, Lucy's conflict between choosing a suitable-in-all-manners scion of a business family and an endlessly-striving artist, puppy dog of a lover, feels like a real doozy. As cold-hearted as matchmaking has probably made her, Lucy realises that material comforts might count for little if the relationship itself feels sparse and impersonal. On the other hand, there might be challenges while living with fewer means, but the few joys and the love will be authentic. A still from the film 'Materialists'. Johnson is very good at playing both the pragmatic go-getter, and the vulnerable Lucy, who shatters after a workplace emergency. Evans plays it straight, but his sincerity is instantly believable. A sequence in his cramped, filthy apartment, which he shares with two other men, has an authenticity, almost like they were anecdotes borrowed from Evans' own life as an upcoming actor. Pascal feels like a martial artist, playing the rich, suave New Yorker, who doesn't think twice before becoming the generous acquaintance in every vicinity he inhabits. He can afford it, but he maintains a light touch. But I was slightly irked by the way Song concludes Harry's track in the film. He's too much of an ideal, to actually become a fleshed-out person. With her keen observation and curiosity, Song elevates what might be termed a 'fluffy' genre piece. In a crucial plot-point, she makes sure to include the dangers women have to put themselves through, while trying to find a potential partner. It's a noble thought that works more in theory, than it does in the actual film. Celine Song's Materialists balances the scale of the sentimental, tear-jerker romantic comedy with a genuinely curious film about relationships in this day and age. Another special thing about it is how it emulates the rhythm of real life, replicating its ebbs and flows, alternating between the highs of a too-good-to-be-true fairytale, the pitch-darkness of real life and the mundanities of the in-between days. Even without the mat(c)hmakers, the apps, or matrimonial sites – for Song, finding love is serious business. *Materialists is playing in theatres The Wire is now on WhatsApp. Follow our channel for sharp analysis and opinions on the latest developments.
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