• Google unveiled Flow, an AI moviemaking tool, at the IO conference.
• Flow uses Google's latest AI models to generate visuals, sound effects, and dialog.
• AI-generated content could challenge traditional studios like Netflix.

Technologist Luis von Ahn was recently asked if AI is a threat to the company he runs, Duolingo.

He said many companies could be disrupted, including Netflix.

"That's one of the things that is scary about the world that we live in," von Ahn said. "With AI and large language models, we're undergoing a platform shift."

"I'm not super worried, but you just never know. And it's not just for Duolingo, it could be all kinds of things, right?" he added. "I mean, it could be a threat for Netflix. It could be that just a large language model — just press a button and it makes you the perfect movie."

This was a couple of weeks ago, and I thought he was overselling it a bit. That's until I got a glimpse of Flow, a new AI-powered moviemaking tool that Google unveiled on Tuesday.

At the Google I/O conference in Silicon Valley, the company showed off this new technology, along with some illustrative movie clips created by filmmakers who had early access to Flow. 

Flow was built on top of Imagen 4 and Veo 3, the latest versions of Google's image and video-generation AI models. The company says the updated Veo model creates better visuals and can now generate sound effects, background noises, and even dialog.

If you give it a prompt describing characters and an environment, and suggest a dialog with a description of how you want it to sound, it produces a film. In one illustrative clip Google shared, two animated animals talked with each other. (To me, it looked very similar to a Pixar movie).

Flow is designed to help creators produce high-quality cinematic video from text descriptions. Users can also bring their own images and other files into Flow. It integrates precise camera movements, including the ability to request specific camera angles, such as an 8-millimeter wide-angle lens.

You can edit the film, too, within Flow.

In one example shared by Google, a user requests a scene of an old man and a friendly bird driving a black convertible off a cliff. The car begins to fall, but using Flow, the scene is swiftly changed and extended using AI so that the bird in the car starts flapping its wings and flying instead. The edit seamlessly retains character and scene continuity. 

Implications for Netflix and traditional studios

While Google positions Flow as a tool to empower filmmakers, the broader implications are clear: AI-generated content could one day challenge human-created productions in quality, cost-efficiency, and scale. For companies like Netflix, which have built empires on high production-value storytelling, AI poses both an opportunity and a threat.

On one hand, AI tools could accelerate content development, reducing production timelines and budgets. On the other hand, it could open the door for a flood of content from smaller studios, individual creators, or even consumers, eroding the competitive advantage of traditional production pipelines.

Moreover, AI-generated media could be hyper-personalized. Imagine a future where viewers select themes, genres, or even actors — and the platform generates a custom film on demand. Just like Duolingo's von Ann described earlier this month. That could shift power away from major studios and toward platforms that control the underlying AI infrastructure, such as Google.

On a recent podcast, Google CEO Sundar Pichai said the internet giant thought hard about acquiring Netflix years ago. Now, maybe he doesn't need to do that deal.  

The road ahead

Google's Flow is another sign of a broader trend, which is that AI may be democratizing creativity. While Netflix and legacy studios may initially integrate these tools to enhance production, the long-term landscape could resemble the transformation seen in music, publishing, and software coding — where AI tools and platforms radically lower the barrier to entry for more people.

The key question isn't whether AI will change filmmaking — it already is. The question is whether established players like Netflix will ride the wave or be overtaken by it.

As AI continues to evolve, so too must the business models, strategies, and creative visions of Hollywood's biggest names. The age of algorithmically generated storytelling is arriving sooner than we think.

• 2006 was the lowest point in Cruise's career.
• The public bristled at him talking about Scientology and his relationship with Katie Holmes.
• Here, we chronicle Cruise's downfall and his rise back to stardom thanks to "Mission: Impossible."

In August 2006, it seemed like Tom Cruise's career was over.

In an unprecedented announcement from the head of a major conglomerate, Viacom's then-chairman Sumner Redstone publicly ripped into the star — who for years was one of the most profitable actors and producers at Viacom's movie studio, Paramount Pictures.

"We don't think that someone who effectuates creative suicide and costs the company revenue should be on the lot," Redstone told The Wall Street Journal that year. "His recent conduct has not been acceptable to Paramount."

It was likely the toughest and strangest time of Cruise's career. The then-43-year-old actor had a lifetime box-office gross of over $1.5 billion, but his flawless transition from young heartthrob to respected dramatic actor to massive action star seemed to self-destruct as quickly as one of the messages his character, Ethan Hunt, received in the "Mission: Impossible" movies.

The studio he'd called home for 14 years was parting ways with him following a string of bizarre outbursts.

In 2025, that all seems hard to imagine.

Cruise is not only the face of one of the biggest action franchises ever, but his 2022 hit, "Top Gun: Maverick," might have saved Hollywood following the pandemic.

On May 23, he's back with another "M:I," Mission: Impossible - The Final Reckoning," which is being touted as Cruise's final time playing Ethan Hunt.

It's yet another must-see title from one of the last real movie stars the industry has left.

But there was a time the veteran actor's career was at a low point.

The couch jump, 'TomKat,' and Scientology

Cruise's strange downfall and subsequent rebirth as one of the most bankable movie stars all began with a seemingly innocent act of love.

When Cruise agreed to appear on "The Oprah Winfrey Show" in May 2005 to promote his film, "War of the Worlds," it was a big deal. Cruise rarely did interviews, especially on daytime TV.

As Cruise walked onto Winfrey's stage, the crowd went wild. Winfrey playfully tousled Cruise's hair, and the actor was clearly in a great mood.

During the interview, Winfrey mentioned Cruise's latest love interest, Katie Holmes, who was off-stage where no one, especially the cameras, could see her. The excitement of talking about his new girlfriend led him to leap up on Winfrey's couch with joy. He did it a second time for good measure.

After the couch-jumping, Winfrey even got Cruise to chase down Holmes and get her to come onstage.

It seemed harmless at the time, but thanks to a very young internet video-posting site called YouTube, the image of Cruise on top of Winfrey's couch became a pop-culture phenomenon. To some critics, Cruise's behavior felt off. 

A month later, Cruise agreed to go on the "Today" show to continue promoting "War of the Worlds" and also talk about his religion, Scientology. When now-disgraced interviewer Matt Lauer spoke about Scientology, and specifically about Cruise not agreeing with psychiatry, the tone changed. Cruise offered his opinion on Brooke Shields' use of antidepressants for postpartum depression.

Here's an excerpt of Cruise and Lauer's uncomfortable exchange:

Cruise: "Do you know what Adderall is? Do you know Ritalin? Do you know Ritalin is a street drug? Do you understand that?"

Lauer: "The difference is — "

Cruise: "No, Matt, I'm asking you a question."

Lauer: "I understand there's abuse of all of these things."

Cruise: "No, you see here's the problem: You don't know the history of psychiatry. I do."

Later in the conversation:

Lauer: "Do you examine the possibility that these things do work for some people? That yes, there are abuses, and yes, maybe they've gone too far in certain areas, maybe there are too many kids on Ritalin, maybe electric shock —"

Cruise: "Too many kids on Ritalin?"

Lauer: "I'm just saying — but aren't there examples where it works?"

Cruise: "Matt, Matt, Matt, you're glib. You don't even know what Ritalin is. If you start talking about chemical imbalance, you have to evaluate and read the research papers on how they came up with these theories, Matt. OK? That's what I've done. You go and you say, 'Where's the medical tests? Where's the blood test that says how much Ritalin you're supposed to get?'"

Lauer: "It's very impressive to listen to you, because clearly you've done the homework and you know the subject."

Cruise: "And you should. And you should do that also, because just knowing people who are on Ritalin isn't enough. You should be a little bit more responsible … "

Minutes later, the exchange was on loop all over the world.

Within a few weeks, Cruise had gone wild on Winfrey and lashed out at Lauer, and by then, the tabloids had gone into overdrive with the Cruise-Holmes relationship, which they called "TomKat."

It was time for Cruise to get off the grid, but he couldn't.

Cruise's star power takes a hit

For most of his career, an experienced publicist named Pat Kingsley reportedly kept Cruise's private life out of the tabloids. According to a 2014 LA Weekly story, she even talked Cruise out of being more vocal about Scientology when he did press for his 2003 film "The Last Samurai."

A year later, the LA Weekly story said Cruise let Kingsley go after 14 years and formed a publicity team that included his sister, Lee Anne De Vette, and fellow Scientologists.

Now, in a typhoon of backlash that Cruise had never experienced before, his team may have been too inexperienced to protect him.

Despite all the negative attention, "War of the Worlds" still went to No. 1 at the box office during its opening weekend ($65 million), and ended up with a worldwide take of $592 million.

It would be the last time a film starring Cruise would make over $500 million worldwide for the next six years.

Following the release of "War of the Worlds," TomKat was still daily tabloid fodder, especially with the news that the two were expecting a child. And then, in March 2006, Cruise went global again with the controversial "South Park" episode "Trapped in the Closet."

The episode originally aired in November 2005 and revealed what Scientologists believe is the origin of life, but it also depicted Cruise as an insecure person and played on rumors about his sexuality.

In the episode, one of the main characters on the show, Stan, is thought by Scientology to be the second coming of its founder, L. Ron Hubbard. This leads Scientologists, including Cruise, to flock to Stan's house to pay their respects. But when Stan insults his acting ability, Cruise hides in Stan's closet, leading to Stan saying, "Dad, Tom Cruise won't come out of the closet."

Comedy Central delayed re-airing the episode in March 2006 because Cruise reportedly had declared he would not promote "Mission: Impossible 3" unless Viacom (which owns the film's studio, Paramount, and Comedy Central) canceled the rebroadcast.

Cruise's reps denied he ever threatened not to promote the film.

The controversy made headlines all over the world and led "South Park" fans to declare they would boycott "Mission: Impossible 3" until Comedy Central aired the episode.

The episode finally re-aired in July of that year.

"Closetgate," as it would become known, was the last straw.

The constant tabloid coverage of TomKat, plus rumors that Cruise and Holmes' relationship was supposedly arranged by the church, had turned people off. (Cruise and Holmes married in November 2006 and divorced six years later.)

The bad press soon began to affect Cruise's career. "Mission: Impossible 3" opened in theaters in May 2006, and Cruise's Q score — the appeal of a celebrity, brand, or company to the public — was down 40%.

Though the film was No. 1 in the US on its opening weekend ($48 million), it lost appeal as the weeks passed. Ticket sales dropped 47% during its second week in theaters and 53% in its third week.

"Mission: Impossible 3" is the lowest-grossing film in the franchise to date, with a $400 million worldwide gross.

It was at this point that Redstone gave Cruise his wake-up call: "We don't think that someone who effectuates creative suicide and costs the company revenue should be on the lot. His recent conduct has not been acceptable to Paramount."

The long road back to superstardom

After being kicked off the Paramount lot, Cruise hired a publicist with more experience and buckled down for a comeback. He brought his production company over to MGM and took partial ownership of the iconic United Artists studio.

Cruise also became less vocal about Scientology in public, though he was apparently still very much involved in private. In 2008, a Scientology-produced video went viral on YouTube of the actor explaining what the religion meant to him.

Cruise paused making action movies and turned to dramas like "Lions for Lambs" (2007) and "Valkyrie" (2008).

In between those films, he agreed to star in pal Ben Stiller's 2008 comedy "Tropic Thunder" as the overweight, bigger-than-life movie exec Les Grossman. It was the best move Cruise had made in years. In doing something so out of character, he began to win back fans.

"Tropic Thunder" reunited Cruise with his former studio, Paramount. Although Cruise's production company was kicked off the lot, it didn't mean he couldn't still be cast in the studio's films. The wheels were now in motion for Cruise to get back on Paramount's good side so he could make more "Mission: Impossible" movies.

Being a hit in "Tropic Thunder," Paramount's biggest comedy of the year for Paramount, was a good starting point.

Director J.J. Abrams, who directed Cruise in "Mission: Impossible 3" and was in Paramount's good graces after directing the studio's hit "Star Trek Into Darkness," was also working to get Cruise back in the franchise.

In the summer of 2010, news broke that Cruise would be starring in "Mission: Impossible — Ghost Protocol," with Abrams as producer. But this installment in the franchise would not be titled "Mission: Impossible 4," because the idea was that the film would be a refresh on the franchise, with Cruise stepping aside as the lead and giving way to rising star Jeremy Renner.

Cruise didn't get the message.

Back in the Ethan Hunt role, Cruise cemented his place in the franchise by scaling the tallest building in the world, the Burj Khalifa in Dubai, without a stunt double.

That, and the other impressive stunts featured in the film, led to "Ghost Protocol" earning the biggest worldwide box office in the franchise's history — $695 million. It was also the second-highest earning film for Paramount in 2011, just behind "Transformers: Dark of the Moon."

It wasn't all box-office wins for Cruise following "Ghost Protocol." "Knight and Day" and the "Jack Reacher" franchise didn't do as well as expected. And he could not help Universal's Dark Universe get off the ground as 2017's "The Mummy" bombed at the box office.

However, he laid the seeds of what could be another profitable franchise with 2014's "Edge of Tomorrow, which — even with a slow start when it opened — ended up passing the domestic $100 million mark (the first time in nine years that a non-"Mission: Impossible" Cruise film hit that landmark number) and only grew in popularity when it got onto home video and streaming.

And then there are the "M: I" movies.

In 2015, "Rogue Nation," with its eye-popping stunt in which Cruise hung from the side of a plane as it took off, earned over $682.7 million worldwide and was the top-grossing film for Paramount that year. And 2018's "Fallout" did even better, taking in over $791 million worldwide.

Cruise took a break from the "M:I" movies to single-handedly get audiences back in theaters after the pandemic when "Top Gun: Maverick" opened in May of 2022. It would go on to earn over $1 billion at the worldwide box office.

Just over a year later, "Mission: Impossible — Dead Reckoning" opened and brought in a respectable $570 million-plus worldwide as it teed up the final chapter in Cruise's "M:I" journey with yet another stunning stunt.

Despite Alex Gibney's explosive 2015 HBO Scientology documentary "Going Clear," in which Cruise is criticized for being the face of the controversial religion, Cruise remains one of the world's top movie stars. 

And with "Mission: Impossible — The Final Reckoning" out this month, it doesn't seem likely that he'll be knocked off that mantel anytime soon.

This story was originally published in 2022. It has been updated to reflect recent events.