• This summer, multiple controversies surrounding 'It Ends with Us' overshadowed the film's press tour.
• Fans criticized Blake Lively's promotion methods and speculated her and costar Justin Baldoni had fallen out.
• Four months later, Lively filed a sexual harassment complaint against Baldoni.

The "It Ends With Us" press tour this summer was overshadowed by rumor and speculation.

Ahead of the film's release in August, fans suspected lead star Blake Lively and her costar and director, Justin Baldoni, were feuding. Fans blamed Lively without know what cause their apparent falling out, and criticized her on social media.

The film survived the backlash, becoming one of the biggest hit movies of the summer, grossing $350 million worldwide.

Over the weekend, Lively filed a legal complaint against Baldoni.

Here's everything we know about the situation.

Baldoni did not interact with other cast members at press events.

Fans suspected that something was amiss when Baldoni and Lively didn't interact during the press tour, despite playing partners in the film.

Lively teamed up with costars Brandon Sklenar and Isabela Ferrer for press events and with Colleen Hoover, the author of the book the film is based on, for interviews and TV spots. Meanwhile, Baldoni did a lot of solo press.

Even when they both attended the New York premiere on August 6, they were not photographed together.

Lively posed with her castmates, Hoover, her husband Ryan Reynolds, and Hugh Jackman, his "Deadpool & Wolverine" costar. Meanwhile, Baldoni was only photographed with his wife and some of the other producers who worked on the film.

While speaking to Entertainment Tonight on the carpet at the New York premiere, Baldoni explained why he was stepping back from the limelight.

"This isn't my night — this is a night for all the women who we made this movie for," he said." This is a night for Blake, this is a night for Colleen. I'm just so grateful that we're here, five years in the making."

Regardless of his comments, fans theorized about the potential drama between the two on social media.

This speculation intensified after a user on the r/ColleenHoover subreddit posted on August 6 that Lively and Hoover do not follow Baldoni on Instagram. Fans also noticed that the film's other stars, including Sklenar, Ferrer, and Jenny Slate, did not follow Baldoni either.

Business Insider could not verify whether they previously followed him.

For his part, Baldoni followed all of them except Hoover.

Fans wondered if the apparent beef was one-sided or if Baldoni was at the center of a wider fracture, especially since, during pre-production, Hoover and Baldoni appeared on each other's Instagram feeds multiple times.

Adding to this theory was a clip of Slate seemingly sidestepping a question about Baldoni at the movie's New York premiere. Asked about having Baldoni as both a scene partner and a director, she responded by not mentioning Baldoni and instead speaking about how "intense" it must be to do both jobs.

News reports fueled the speculation.

The Hollywood Reporter reported on August 8, citing unnamed sources, that the feud on set originated when two movie cuts emerged during the postproduction process.

Multiple sources told the outlet that Lively commissioned one of the cuts to be done by "Deadpool & Wolverine" editor Shane Reid. He was the same editor Lively previously used when she directed the music video for Taylor Swift's "I Bet You Think About Me."

However, the film's final cut was credited to editors Oona Flaherty and Robb Sullivan.

It's unclear if Reid's cut was used in the film version that showed in theaters, but according to one source who spoke to THR, the team agreed on the final cut.

A day later, Page Six reported, citing an anonymous source, that the two talents didn't see eye-to-eye while shooting the movie. Page Six reported that one source said Baldoni made Lively feel "uncomfortable" about her postpartum body during filming. Another source said Baldoni created an "extremely difficult" environment for the entire cast.

"It's not just Blake. None of the cast enjoyed working with Justin," the source was quoted as stating. "They certainly didn't talk to him at the premiere."

On August 13, People reported that a source close to the set said, "All is not what it seems," and the principal cast and Hoover didn't want anything to do with Baldoni.

Fans turn on Lively.

Though reports indicated that the cast had a problem with Baldoni, fans blamed Lively for the feud, accusing her of trying to take over the film.

This theory was supported by Baldoni and Lively's interviews in the lead-up to the movie's premiere.

On August 9, Baldoni told Today that Lively and Reynolds, who was not a producer on the film, contributed significantly to it.

"You can't summarize Blake's contribution in a sentence, because her energy and imprint is all over the movie and really, really made the film better, and from beginning to end," Baldoni said.

Baldoni also said he struggled to balance allowing collaboration and having his voice drowned out entirely.

He said: "You don't have to listen to everybody, and that didn't happen all the time, but there were just moments where I would get out of the way too much."

Baldoni also said that Lively should take over as director for the sequel to the "It Ends With Us" novel, "It Starts with Us."

Meanwhile, Lively told E! News on August 7 that Reynolds helped pen the opening scene of "It Ends With Us."

The film's screenwriter Christy Hal told People a day later that she wasn't aware that Reynolds had written some of the dialogue used in the final version of the script.

"When I saw a cut, I was like, 'Oh, that's cute. That must have been a cute improvised thing,'" Hall said. "So if I'm being told that Ryan wrote that, then great, how wonderful."

The film is about a florist whose husband becomes abusive, and Fans also criticized Lively for speaking about the film's romantic elements during the press tour, and less about the domestic abuse plot. This was in line with the film's marketing.

Baldoni was the only cast member who consistently spoke about the domestic abuse element.

Baldoni recruited a PR crisis manager who represented Johnny Depp during his trial with ex-wife Amber Heard.

The Hollywood Reporter reported on August 13 that the actor hired veteran PR crisis manager Melissa Nathan, who represented Johnny Depp during the Amber Heard trial in 2022.

Nathan launched her agency in 2024, specializing in crisis communications and reputation management.

A clip of Lively acting hostile toward a reporter in a 2016 interview resurfaced amid the 'It Ends With Us' drama

Journalist Kjersti Flaa released a clip of an interview with Blake Lively on August 10, titled "The Blake Lively interview that made me want to quit my job."

"It actually took me a while to get over the experience," Flaa told Business Insider in an email on August 19.

"Every time I entered a room after this I got nervous that something similar might happen again," she wrote.

Lively's costar put out a statement asking people to stop focusing on 'what may or may not have happened.'

Sklenar, who plays Lively's other love interest in "It Ends With Us," spoke out about the speculation in an Instagram post on August 20.

"I wanted to take a minute and address all this stuff swirling online," he wrote, going on to condemn people for "vilifying" women who were part of the film.

"Colleen and the women of this cast stand for hope, perseverance, and for women choosing a better life for themselves. Vilifying the women who put so much of their heart and soul into making this film because they believe so strongly in its message seems counterproductive and detracts from what this film is about," he said.

"This film is meant to inspire. It's meant to validate and recognize," Sklenar added. "It is not meant to once again, make women the 'bad guy,' let's move beyond that together."

Representatives for Baldoni, Lively, Reynolds, Hoover, and Sklenar did not respond to requests for comment from Business Insider.

Lively files a complaint against Baldoni, accusing him of sexual harassment.

On December 20, Lively filed a legal complaint against Baldoni, accusing him of sexual harassment, retaliation, breach of contract, inflicting "emotional distress," and conspiring to damage her public reputation.

The complaint also named Wayfarer Studios, Baldoni's production company, and Jamey Heath, the company's CEO, as two of the 11 defendants in the lawsuit.

In the lawsuit, Lively said an "all-hands" meeting about Baldoni and Heath's behavior on set was held in January 2023. She accused him of showing her nude videos and images of women, improvising kissing scenes or intimate scenes, and entering her trailer while she was naked.

Lively said she held the meeting for all the female cast members and requested an intimacy coordinator to be hired.

Lively said Heath and Baldoni retaliated against her by orchestrating a "multi-tiered" plan to "destroy" her public reputation and stop her or anyone else from speaking out about what happened on set.

Lively said Baldoni hired the crisis PR, Nathan, and a Texas-based contractor named Jed Wallace, both defendants in the lawsuit, ahead of the film's premiere to carry out this plan. She said it involved feeding theories on social media to shift the narrative against Lively.

She also claims in the lawsuit that the cast agreed to a marketing plan created by the film's distributor, Sony Pictures Entertainment, to avoid talking about the sad parts of the movie, which Baldoni broke away from.

"What the public did not know was that Mr. Baldoni and his team did so to explain why many of the Film's cast and crew had unfollowed Mr. Baldoni on social media and were not appearing with him in public," the complaint said.

Baldoni's attorney said Lively blamed Baldoni to fix her reputation.

Bryan Freedman, an attorney for Baldoni and Wayfarer Studios, told BI in a statement: "It is shameful that Ms. Lively and her representatives would make such serious and categorically false accusations against Mr. Baldoni, Wayfarer Studios and its representatives, as yet another desperate attempt to 'fix' her negative reputation, which was garnered from her own remarks and actions during the campaign for the film; interviews and press activities that were observed publicly, in real time and unedited, which allowed for the internet to generate their own views and opinions."

Freedman said Nathan was hired because Lively made multiple demands and threatened not to show up to set or promote the film if they were not met.

A representative for Lively referred BI to a statement shared with The New York Times on Saturday: "I hope that my legal action helps pull back the curtain on these sinister retaliatory tactics to harm people who speak up about misconduct and helps protect others who may be targeted."

Lively's costars from 2005's "The Sisterhood of the Traveling Pants" — America Ferrera, Amber Tamblyn, and Alexis Bledel — and Hoover have shared statements in support of Lively after she made the complaint.

• Drake and Kendrick Lamar have exchanged nine diss tracks since "Like That" dropped in March.
• Hip-hop writers and critics favor Lamar in the feud, praising his songs as more persuasive.
• Lamar has extended his victory lap by surprise-releasing a new album, "GNX."

Drake and Kendrick Lamar were once considered collaborators, perhaps even friends.

Both rappers lent features to the other's 2011 albums ("Take Care" and "good kid, m.A.A.d city," respectively) and even teamed up with A$AP Rocky for the 2012 hit "F**kin' Problems."

Over the years, however, Drake and Lamar came to represent very different versions of hip-hop greatness: the former is a commercial juggernaut, racking up No. 1 albums and breaking chart records set by The Beatles, while the latter is a Grammy darling and acclaimed lyricist who's won a Pulitzer Prize.

Today, their separation is more apparent than ever: Drake and Lamar have become all-out foes.

In March, the Compton rapper used one simple line to reheat their long-simmering beef: "Motherfuck the big three, it's just big me."

The avowal appeared in Lamar's guest verse for "Like That," the sixth track on Future and Metro Boomin's collaborative album "We Don't Trust You."

When the album was released, attentive rap fans noted Lamar's sneaky reference to J. Cole's guest verse in the 2023 Drake hit "First Person Shooter."

"Love when they argue the hardest MC / Is it K-Dot? Is it Aubrey? Or me? / We the big three like we started a league," Cole rapped, referencing Lamar's nickname "K-Dot" and Drake's birth name, Aubrey Graham.

While Cole backed down from the challenge, Drake did not. He released a pair of diss tracks aimed at Lamar, "Push Ups" and "Taylor Made Freestyle."

In the former, Drake mocks Lamar's height with a reference to his latest Grammy-winning album, "Mr. Morale & the Big Steppers." ("How the fuck you big steppin' with a size-seven men's on?") The latter track opens with AI-generated advice from Tupac Shakur, whom Lamar has frequently been compared to. This strategy backfired, drawing criticism and legal threats from Shakur's estate; Drake removed the song from his social media.

Lamar finally responded after 11 days of silence, dropping an explicitly anti-Drake diss called "Euphoria."

The song contains layered insults about his rival's roots ("I'd rather do that than let a Canadian n**** make Pac turn in his grave"), Drake's track record as a dad ("I got a son to raise, but I can see you don't know nothin' 'bout that"), and long-stewing plastic surgery rumors ("Tell 'em where you get your abs from").

Even the title is likely a reference to Drake's role as executive producer on HBO's "Euphoria," a show that's been criticized for objectifying and sexualizing young girls. (None of the actors depicted having sex are actually teenagers.)

The drama didn't stop there. Less than 72 hours later, Lamar released "6:16 in LA," which sparked another response from Drake ("Family Matters"), which provoked two more jabs from Lamar ("Meet the Grahams" and "Not Like Us"), which finally led Drake to address criticism head-on ("The Heart Part 6").

As of writing, the rappers have exchanged a total of nine diss tracks (including "Like That") in a matter of weeks. It's the latest in a long, storied history of rap feuds, but even so, there's a lot to unpack here.

We broke down the key takeaways from hip-hop writers and culture critics.

After 'Euphoria,' critics said Lamar took round one

The unbridled energy of "Euphoria" has been widely praised by critics, even though Lamar's rebuttal came later than fans expected.

"Drake's 'Push Ups' and 'Taylor Made Freestyle' were solid efforts, but for my money, they didn't hit as hard as the 'Like That' verse or 'Euphoria,'" Angel Diaz wrote for Billboard. "This response was well worth the wait."

Similarly, music journalist Sowmya Krishnamurthy commended Lamar's patience, writing on Medium, "There's a reason that he's known as hip-hop's reigning boogeyman."

"What's so great about 'Euphoria' is that it's six minutes and 24 seconds of rapping. Straight bars," Krishnamurthy wrote, comparing Lamar's "vicious" lyrical skill to Drake's "penchant for social media trolling and gimmicks."

"This is a rap battle," Krishnamurthy added. "The victor needs to showcase actual skill, wit, wordplay, and flow in order to take it."

In a track review for Pitchfork, Alphonse Pierre argued that Lamar's humor and passionate delivery help to sell the song — despite its underwhelming production and its lack of a "knockout blow."

"He sounds like he's been waiting years for this moment. 'I hate the way that you walk, the way that you talk / I hate the way that you dress,' he raps; cliché, but it works because he sounds like he really means it," Pierre wrote.

Lamar declared, 'I'm the biggest hater,' and people are loving it

Drake is no stranger to diss tracks. Back in 2018, he was eviscerated by Pusha T's "The Story of Adidon," which Pierre said "set the bar for all future Drake teardowns."

Pusha T promoted the release with an old photo of Drake in blackface. In the song, he revealed that Drake had quietly fathered a child with an adult film star.

By contrast, "Euphoria" isn't especially specific or revelatory. Instead, what delighted critics is the sheer level of contempt that Lamar has been harboring for the Canadian chart-topper.

"This ain't been about critics, not about gimmicks, not about who the greatest / It's always been about love and hate, now let me say I'm the biggest hater," Lamar raps.

The lyric is probably a reference to a Breakfast Club interview with DMX in 2012 in which the rapper declared, "I don't like anything about Drake. I don't like his fucking voice. I don't like the shit he talks about. I don't like his face. I don't like the way he walks, nothing."

Pop culture writer Hunter Harris applauded Lamar's catty "war cry" in her newsletter "Hung Up," noting, "The meanest thing you can possibly do is to hate someone just because."

Zoe Guy echoed this sentiment in an article for Vulture, saluting Lamar for his "blatant honesty."

"We can only hope Lamar never relinquishes the hate in his heart, because we could go for another fiery verse or two," Guy wrote.

Music journalist Andre Gee agreed, contending that Lamar didn't need a big reveal or accusation for the song to land — he only needed to be energized by his own personal disdain.

"Some diss songs make listeners perceive an artist differently, but other disses say things people are already thinking in ways that they can't convey," Gee wrote for Rolling Stone. "The Cardo and Kyuro-produced 'Euphoria' is the latter. Kendrick doesn't say many new things, but the way he lobs his insults makes it a haymaker."

Social media users also put Lamar in the lead

Producer and DJ Marseel said on X that Drake "lost the culture" after the "Euphoria" drop, while culture critic Shamira Ibrahim wrote, "I'm actually shook at how disgusted Kendrick is with Drake."

The rapper and singer Tiger Goods celebrated Lamar's Gemini spirit, writing, "Real haters are detailed."

"Drake is responding because he has to," wrote Todd in the Shadows, a popular YouTube music reviewer. "Kendrick is doing this because he actively dislikes Drake."

Plenty of others noted Lamar's solo writing credit for "Euphoria," compared to three writing credits for Drake's "Push Ups," citing this as evidence of Lamar's superiority. (Drake has long been accused of using ghostwriters for his hits, a claim that Lamar has now repeated.)

"Kendrick absolutely ethered Drake," culture critic Ira Madison III wrote on X. "But as the male Taylor Swift, he is Teflon. His career will be just fine even if people hate him."

Critics praised Drake's rapping on 'Family Matters,' but Lamar's quick comeback gave him the upper hand again

Three days after Lamar released "Euphoria," Drake hit back with "Family Matters," a seven-minute song paired with a music video.

Drake begins the song with a disclaimer: "I was really, really tryna keep it PG." Then he goes after Lamar's family, accusing his opponent of infidelity and abuse: "They hired a crisis management team / To clean up the fact that you beat on your queen." (Lamar seemed to admit to having affairs in his latest album, "Mr. Morale," but as of writing, the domestic violence allegations are unsubstantiated.)

Drake also claims that one of Lamar's children with his fiancée, Whitney Alford, was actually fathered by Lamar's manager, Dave Free.

Journalists called the song "eviscerating" and "really real." Several opined that Drake rose to Lamar's challenge and delivered an impressive performance.

"In a vacuum, this song would be one of the strongest diss records of all time," David Dennis Jr. wrote for Andscape. "'Family Matters' is some of the best rapping Drake's done in his career. He knew he was up against the premier lyricist of our era, and he stepped up tremendously."

However, Drake's triumph was short-lived. Mere minutes later, Lamar countered with "Meet the Grahams," an open letter to members of Drake's family.

Throughout the song, Lamar addresses Drake's 6-year-old son ("Dear Adonis, I'm sorry that man is your father"), his mom ("Sandra, sit down, what I'm about to say is heavy, now listen / Your son's a sick man with sick thoughts"), his dad ("You raised a horrible fucking person, the nerve of you, Dennis"), and a mysterious 11-year-old daughter that he alleges Drake is hiding. (Drake denied this final point via Instagram.)

The brutal tone of the track, paired with the speed of its delivery, quickly returned the edge to Lamar.

As Charles Holmes wrote for The Ringer, "The quality of the most recent diss tracks became irrelevant the minute Kendrick outmaneuvered Drake by releasing 'Meet the Grahams' about an hour after 'Family Matters' dropped."

The next morning, Lamar stayed on the offensive with "Not Like Us," in which he explicitly accuses Drake of pedophilia and harboring sex offenders in his OVO camp. (Back in 2010, Drake did kiss a teenager onstage during a concert. He has also been criticized for questionable relationships with minors, including Billie Eilish and Bella Harris, though he has never faced official accusations of sexual misconduct.)

During a live-streamed reaction, music reviewer Anthony Fantano described the one-two punch as a "terminal case" for Drake.

"Drake could throw in the towel. It's starting to look like that might need to happen," Fantano said, adding, "This is pretty devastating."

Indeed, writers and editors at The Ringer have since crowned "Not Like Us" the seventh-greatest diss track in history.

"A fire can melt snow, but it's got no chance against an avalanche. That's effectively what it felt like watching 'Family Matters' go up against this Kendrick onslaught," Justin Sayles wrote. "This thing is over. Kendrick's legacy is secure. The only question now is what happens to Drake's."

Drake shot back with 'The Heart Part 6,' but it didn't sway public opinion in his favor

On Sunday night, Drake released another diss track, named in the style of Lamar's long-running "The Heart" series. (Lamar's latest installment was the Grammy-winning single "The Heart Part 5," released in 2022.)

Drake uses the song to address Lamar's accusations of pedophilia, explicitly denying any inappropriate behavior. He even name-drops "Stranger Things" actor Millie Bobby Brown, whom Drake befriended when she was 14 years old, though Lamar has never mentioned her.

"Just for clarity, I feel disgusted, I'm too respected / If I was fucking young girls, I promise I'd have been arrested," Drake raps. "I'm way too famous for this shit you just suggested."

The Toronto native also claims that his own team leaked false rumors of a secret daughter to bait Lamar: "We plotted for a week and then we fed you the information," he raps. "You gotta learn to fact-check things and be less impatient."

In the spoken-word outro, Drake calls Lamar a liar and implies that he's done with their back-and-forth.

However, spectators online don't seem impressed with Drake's defensive maneuver. Some have compared "The Heart Part 6" to a scene from "It's Always Sunny in Philadelphia," in which a character says, "There is no quicker way for people to think that you are 'diddling kids' than by writing a song about it."

Many also noted that Drake's core argument — that he's "too famous" to get away with criminal behavior — contradicts well-documented evidence that fame and wealth can help people evade consequences.

"Drake's argument against the pedophilia allegations is 'if I was really fucking young girls I promise I'd have been arrested' UHHH WHAT??? Rich famous men don't get away with such crimes everyday???" lawyer and political commentator Olayemi Olurin wrote on X.

Critics broadly agreed that "The Heart Part 6" did not improve Drake's image.

Pitchfork contributor Evan Rytlewski wrote on X, "This is one of the worst songs I've ever heard, extremely ugly shit." Krishnamurthy opined that Drake's "credibility and integrity need work," whether or not Lamar's accusations are true.

"He sounds beaten-down and cold, spending nearly six minutes calling Kendrick a bad investigative journalist, attempting to mock the molestation story in Kendrick's 'Mother I Sober,' and disputing claims that he's had relationships with underage girls in the worst way possible," Pierre wrote for Pitchfork. "It's a miserable song. He sounds washed and exiled."

But even as critics declare Lamar as the victor, several have called for the cutthroat exchange to end here — especially given the dark accusations of misogyny and depravity that have been thrown in both directions.

"Drake and Kendrick don't have the politics to be doing all this," Holmes wrote. "As with most hip-hop beefs, we've ended up where we were always destined to — men using women, wives, baby mothers, parents, and children in increasingly gross and depraved ways to satisfy their rabid egos."

Lamar never responded to "The Heart Part 6."

Lamar seemed to cement his victory with a Juneteenth concert and a music video for 'Not Like Us'

"Not Like Us" debuted at No. 1 on the Billboard Hot 100, while "Family Matters" debuted at No. 7 — a devastating blow to Drake, whose biggest leg up on Lamar was thought to be his commercial appeal.

Lamar flexed the popularity of his diss tracks during a one-night-only Juneteenth concert in Inglewood, California, dubbed "The Pop Out: Ken and Friends," which he opened with "Euphoria."

To close the show, Lamar performed "Not Like Us" five times in a row — six including an instrumental-only version. He was joined onstage by a huge array of guests, including West Coast rappers, athletes, and dancers. "This is unity at its finest," Lamar told the crowd.

The event was widely celebrated as Lamar's victory lap, cementing his support from both fans and members of the hip-hop community. According to NBC News, "SIX TIMES" began trending on X shortly after the concert ended.

"It was hard to overlook the fact that the thing unifying the coast in this moment was not love but hate, and Kendrick, the self-proclaimed biggest Drake hater, was primarily operating in his capacity as speaker for the culture in his personal war with the Toronto high roller," Sheldon Pearce wrote for NPR. "If the matter wasn't settled before, then it certainly is now."

But Lamar wasn't finished there. On July 4, he released an official music video for "Not Like Us," co-directed by Lamar and Free, which is packed with unsubtle references to Drake and their feud.

In one scene, Lamar repeatedly whacks an owl-shaped piñata while a disclaimer flashes across the screen: "NO OVHOES WERE HARMED DURING THE MAKING OF THIS VIDEO." Of course, the logo for Drake's brand, October's Very Own, is an owl.

The video ends with Lamar leaving an owl trapped in a birdcage.

The visual also serves as an indirect rebuttal to Drake's claims about Lamar's home life. Lamar's fiancée and their two children make a rare appearance, dancing along to "Not Like Us" and standing together as a family, both literally and symbolically.

Once again, the video was treated as a "victory lap" in headlines and on social media. It has also been described as "triumphal" (Pitchfork), "celebratory" (Complex), "the most anticipated video of the year" (Billboard), and "the cap on Lamar's definitive victory over Drake" (The Hollywood Reporter).

But Lamar's victory lap seems to have no finish line. In the following months, he continued to shore up support from the music industry, clinching a spot as the headliner for the 2025 Super Bowl halftime show and racking up seven Grammy nominations, including both record and song of the year for "Not Like Us."

Lamar surprise-dropped a new album, which includes his own version of 'The Heart Part 6'

Lamar released his new album "GNX" one hour after sharing a teaser on YouTube.

The opening track, "Wacced Out Murals," doesn't name Drake but seems to double down on Lamar's brutal feud strategy: "I never peaced it up, that shit don't sit well with me," he raps. "Before I take a truce, I'll take 'em to Hell with me."

Lamar also calls out Snoop Dogg for sharing "Taylor Made Freestyle," Drake's ill-fated diss track from April, on his Instagram Story: "Snoop posted 'Taylor Made,' I prayed it was the edibles / I couldn't believe it, it was only right for me to let it go."

Most notably, the tracklist includes the next installment in Lamar's "The Heart" series, titled "Heart Pt. 6." The song doesn't reference Drake directly, but the near-identical title serves to eclipse Drake's final diss track.

Shortly after "GNX" arrived, critics and fans were already celebrating "Heart Pt. 6" as a "special song" and another of Lamar's brilliant chess moves — though others joked that Drake should be thankful that his version will be forgotten.

This is a developing story. Check back for updates.