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OpenAI's controversial Sora is finally launching today. Will it truly disrupt Hollywood?
OpenAI’s controversial text-to-video artificial intelligence tool Sora sent shock waves through the entertainment industry when the company unveiled it earlier this year.
The technology promised to revolutionize filmmaking by automatically creating short movies based on written commands. For example, users could type in descriptions, such as “a stylish woman walks down a Tokyo street,” and Sora would provide up to 60-second videos based on that information. Workers feared that it was a prelude to a future in which AI displaced jobs throughout Hollywood.
But until now, Sora has been available only to people participating in research, testing and previews for artists.
On Monday, Sora faces its next big test as OpenAI, best known for the ChatGPT text bot, makes it available to the broader public. In the U.S., consumers can use Sora with a ChatGPT Plus subscription, which costs $20 a month. It can generate up to 50 videos of up to 20 seconds long. Customers can get more Sora usage, higher resolution and longer videos with a ChatGPT Pro subscription.
OpenAI executives say Sora will lead to new possibilities for artists and creatives.
“We really believe that Sora can open doors for people to explore and share their creativity visually, especially without extensive resources or training,” said Souki Mansoor, Sora artist program lead for OpenAI, in an interview. “As we know, filmmaking is very expensive.”
The tool will be accessible for people 18 or older where ChatGPT is available, except for in the United Kingdom, Switzerland and countries in the European Economic Area. OpenAI said it is working on enabling Sora in those locations. The company is also preparing a free version of Sora.
AI is a major source of tension in the entertainment industry. It was a key issue in last year’s strikes by actors and writers, who sought protections from the rising tech as part of their contract negotiations.
Many have also raised concerns about how AI models are trained and whether intellectual property rights holders and artists are being compensated fairly, or at all, for content digested by the powerful technology.
Entertainment companies meanwhile have been exploring partnerships with AI startups as a way to save money.
Mansoor said that OpenAI is sensitive to the concerns raised by creatives about potential job losses, but is optimistic about the opportunities.
“Sora is designed as a creative collaborator, so the hope is that it helps artists bring very ambitious projects to life without expensive resources,” Mansoor said. “We think that this is raising the bar for what’s possible in video creation.”
Sora’s proponents say it could help artists test bold ideas without as many budget constraints. Alexia Adana, a New York-based creative director and visual artist, made the case that it could enable more stories from people, including underrepresented creators, who lack financial resources or equipment.
“We’re in this age where you can create anything and you can learn anything, and it’s either free or very low cost,” said Adana, who had early access to Sora. “This is such an exciting time for people who wouldn’t normally have the resources to demonstrate their vision.”
Adana used Sora to create a film concept called “Bloomchild,” which depicted a child made of soil and dirt who blooms and struggles to fit in. She said it was influenced by her own experiences as a person from Jamaica who grew up in the suburbs of Connecticut.
“I’m able to use a tool to come up with a full-on trailer,” Adana said. “I would have never been able to do that before.”
Indie pop artist Washed Out used Sora to create a music video. The director said the tool allowed him to show scenes from multiple places at a fraction of the cost of shooting on location. Meanwhile, a video that explained the origins of Toys R Us was made 80% with Sora, said Nik Kleverov, chief creative officer of Native Foreign, a Culver City-based creative agency and production company.
OpenAI said Sora will have safety measures in place to prevent abuses of the tool, such as child nudity.
Rohan Sahai, Sora’s engineering lead, said OpenAI has done “a lot of safety work to better understand how we prevent misuse” since Sora was first announced in February.
Some artists are angry with how OpenAI has gone about testing and developing Sora. Last month, a group of artists posted concerns in an online letter about how many creators, in their view, are being used to test and promote the technology without adequate compensation.
The open letter has received more than 1,170 signatures, including from London artist Jake Elwes.
“While hundreds contribute for free, a select few will be chosen through a competition to have their Sora-created films screened — offering minimal compensation which pales in comparison to the substantial PR and marketing value OpenAI receives,” the artists wrote.
Mansoor said that the group’s comments had no influence on the timing of Sora’s launch. She said that the company focused on giving early access to artists who would be most disrupted by tools like Sora and give them the option of helping shape the tool’s development.
“There was no obligation to even use the tool, much less give feedback,” she said.
Mansoor said she came from the creative industry, spending more than a decade in independent filmmaking. “I came to OpenAI to create the kinds of experiences that I wish I had coming up in the industry,” she said.
Kleverov said the concerns raised by the letter didn’t reflect the views of early testers. “The AI world is already so small and then within the world, those of us who are playing with Sora — it’s such a supportive space,” he said.
Walter Woodman, a director and co-founder of Toronto and L.A. production company Shy Kids, said once people experience Sora, “then everyone will see that it is not a magic bullet.” Shy Kids has used Sora to work on short films including “My Love.”
Many creators who have used AI tools say it takes time to get the hang of the tools and that the technology has important limitations.
“Sora can help, much like a camera, editing equipment, or great performance,” Woodman said in an email. “But without great storytelling and storytellers, it will be just a tool on the shelf. However, those with talent are in for a creative awakening.”
Nike is cutting about 1,400 jobs in its operations division, mostly from its technology department, the company said Thursday.
In a note to employees, Venkatesh Alagirisamy, the chief operating officer of Nike, said that management was nearly done reorganizing the business for its turnaround plan, and that the goal was to operate with “more speed, simplicity and precision.”
“This is not a new direction,” Mr. Alagirisamy told employees. “It is the next phase of the work already underway.”
Nike, the world’s largest sportswear company, is trying to recover after missteps led to a prolonged sales slump, in which the brand leaned into lifestyle products and away from performance shoes and apparel. Elliott Hill, the chief executive, has worked to realign the company around sports and speed up product development to create more breakthrough innovations.
In March, Nike told investors that it expected sales to fall this year, with growth in North America offset by poor performance in Asia, where the brand is struggling to rejuvenate sales in China. Executives said at the time that more volatility brought on by the war in the Middle East and rising oil prices might continue to affect its business.
The reorganization has involved cuts across many parts of the organization, including at its headquarters in Beaverton, Ore. Nike slashed some corporate staff last year and eliminated nearly 800 jobs at distribution centers in January.
“You never want to have to go through any sort of layoffs, but to re-center the company, we’re doing some of that,” Mr. Hill said in an interview earlier this year.
Mr. Alagirisamy told employees that Nike was reshaping its technology team and centering employees at its headquarters and a tech center in Bengaluru, India. The layoffs will affect workers across North America, Europe and Asia.
The cuts will also affect staffing in Nike’s factories for Air, the company’s proprietary cushioning system. Employees who work on the supply chain for raw materials will also experience changes as staff is integrated into footwear and apparel teams.
Nike’s Converse brand, which has struggled for years to revive sales, will move some of its engineering resources closer to the factories they support, the company said.
Mr. Alagirisamy said the moves were necessary to optimize Nike’s supply chain, deploy technology faster and bolster relationships with suppliers.
A bill that would have required insurers to offer coverage to homeowners who take steps to reduce wildfire risk on their property died in the Legislature.
The Senate Insurance Committee on Monday voted down the measure, SB 1076, one of the most ambitious bills spurred by the devastating January 2025 wildfires.
The vote came despite fire victims and others rallying at the state Capitol in support of the measure, authored by state Sen. Sasha Renée Pérez (D-Pasadena), whose district includes the Eaton fire zone.
The Insurance Coverage for Fire-Safe Homes Act originally would have required insurers to offer and renew coverage for any home that meets wildfire-safety standards adopted by the insurance commissioner starting Jan. 1, 2028.
It also threatened insurers with a five-year ban from the sale of home or auto insurance if they did not comply, though it allowed for exceptions.
However, faced with strong opposition from the insurance industry, Pérez had agreed to amend the bill so it would have established community-wide pilot projects across the state to better understand the most effective way to limit property and insurance losses from wildfires.
Insurers would have had to offer four years of coverage to homeowners in successful pilot projects.
Denni Ritter, a vice president of the American Property Casualty Insurance Assn., told the committee that her trade group opposed the bill.
“While we appreciate the intent behind those conversations, those concepts do not remove our opposition, because they retain the same core flaw — substituting underwriting judgment and solvency safeguards with a statutory mandate to accept risk,” she said.
In voting against the bill Sen. Laura Richardson, (D-San Pedro), said: “Last I heard, in the United States, we don’t require any company to do anything. That’s the difference between capitalism and communism, frankly.”
The remarks against the measure prompted committee Chair Sen. Steve Padilla, (D-Chula Vista), to chastise committee members in opposition.
“I’m a little perturbed, and I’m a little disappointed, because you have someone who is trying to work with industry, who is trying to get facts and data,” he said.
Monday’s vote was the fourth time a bill that would have required insurers to offer coverage to so-called “fire hardened” homes failed in the Legislature since 2020, according to an analysis by insurance committee staff.
Fire hardening includes measures such as cutting back brush, installing fire resistant roofs and closing eaves to resist fire embers.
Pérez’s legislation was thought to have a better chance of passage because it followed the most catastrophic wildfires in U.S. history, which damaged or destroyed more than 18,000 structures and killed 31 people.
The bill was co-sponsored by the Los Angeles advocacy group Consumer Watchdog and Every Fire Survivor’s Network, a community group founded in Altadena after the fires formerly called the Eaton Fire Survivors Network.
But it also had broad support from groups such as the California Apartment Association, the California Nurses Association and California Environmental Voters.
Leading up to the fires, many insurers, citing heightened fire risk, had dropped policyholders in fire-prone neighorhoods. That forced them onto the California FAIR Plan, the state’s insurer of last resort, which offers limited but costly policies.
A Times analysis found that that in the Palisades and Eaton fire zones, the FAIR Plan’s rolls from 2020 to 2024 nearly doubled from 14,272 to 28,440. Mandating coverage has been seen as a way of reducing FAIR Plan enrollment.
“I’m disappointed this bill died in committee. Fire survivors deserved better,” Pérez said in a statement .
Also failing Monday in the committee was SB 982, a bill authored by Sen. Scott Wiener, (D-San Francisco). It would have authorized California’s attorney general to sue fossil fuel companies to recover losses from climate-induced disasters. It was opposed by the oil and gas industry.
Passing the committee were two other Pérez bills. SB 877 requires insurers to provide more transparency in the claims process. SB 878 imposes a penalty on insurers who don’t make claims payments on time.
Another bill, SB 1301, authored by insurance commissioner candidate Sen. Ben Allen, (D-Pacific Palisades), also passed. It protects policyholders from unexplained and abrupt policy non-renewals.
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Politicians in Washington and the reporters who cover them have an often adversarial relationship.
But on the last Saturday in April, they gather for an irreverent celebration of press freedom and the First Amendment at the Washington Hilton Hotel: The White House Correspondents’ Association dinner.
Hosted by the association, an organization that helps ensure access for media outlets covering the presidency, the dinner attracts Hollywood stars; politicians from both parties; and representatives of more than 100 networks, newspapers, magazines and wire services.
While The Times will have two reporters in the ballroom covering the event, the company no longer buys seats at the party, said Richard W. Stevenson, the Washington bureau chief. The decision goes back almost two decades; the last dinner The Times attended as an organization was in 2007.
“We made a judgment back then that the event had become too celebrity-focused and was undercutting our need to demonstrate to readers that we always seek to maintain a proper distance from the people we cover, many of whom attend as guests,” he said.
It’s a decision, he added, that “we have stuck by through both Republican and Democratic administrations, although we support the work of the White House Correspondents’ Association.”
Susan Wessling, The Times’s Standards editor, said the policy is a product of the organization’s desire to maintain editorial independence.
“We don’t want to leave readers with any questions about our independence and credibility by seeming to be overly friendly with people whose words and actions we need to report on,” she said.
The celebrity mentalist Oz Pearlman is headlining the evening, in lieu of the usual comedy set by the likes of Stephen Colbert and Hasan Minhaj, but all eyes will be on President Trump, who will make his first appearance at the dinner as president.
Mr. Trump has boycotted the event since 2011, when he was the butt of punchlines delivered by President Barack Obama and the talk show host Seth Meyers mocking his hair, his reality TV show and his preoccupation with the “birther” movement.
Last month, though, Mr. Trump, who has a contentious relationship with the media, announced his intention to attend this year’s dinner, where he will speak to a room full of the same reporters he often derides as “enemies of the people.”
Times reporters will be there to document the highs, the lows and the reactions in the room. A reporter for the Styles desk has also been assigned to cover the robust roster of after-parties around Washington.
Some off-duty reporters from The Times will also be present at this late-night circuit, though everyone remains cognizant of their roles, said Patrick Healy, The Times’s assistant managing editor for Standards and Trust.
“If they’re reporting, there’s a notebook or recorder out as usual,” he said. “If they’re not, they’re pros who know they’re always identifiable as Times journalists.”
For most of The Times’s reporters and editors, though, the evening will be experienced from home.
“The rest of us will be able to follow the coverage,” Mr. Stevenson said, “without having to don our tuxes or gowns.”
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