While some of the attention is clearly just a hype wave, generative AI models end up being a great solution to the storyboarding use-case for a number of reasons:

Generative techniques enable infinite experimentation at the cost of a model call. If you can get shots in seconds instead of days, video creatives are able to explore their visions more freely.
These models are visually expressive and rich in ways we've never seen before from artificial systems, enabling artists to follow their creative whimsy in new ways.
Because these models can learn from data, they continuously improve and adapt as they are used more. This allows for learned personalization of an artists' style and brand, something that existing storyboarding solutions cannot do.
Storyboarding is a fault-tolerant problem for generative models to be applied to. In other words, while it's clear that generative systems aren't perfect today, the storyboarding use-case tolerates occasional hiccups such as distorted faces or additional limbs. This means generative AI can provide benefits to the storyboarding workflow today.

Soaking up the “clean light” of the desert sun, Robert Yeoman’s camera reveals most of these sights to us in the span of a single 360-degree swivel, a flex that underlines Anderson’s absolute command over the film’s Chinchón set where his characters will soon be trapped against their will, thus forcing them to surrender the delusion of control that has defined so many of Anderson’s characters over the course of his career. It’s maybe the most radical thing that has ever happened in one of his movies — the sort of transformative moment that A.I. could never dream up no matter how much data it ingested — and it spins “Asteroid City” in a cosmic new direction. What until then was just another immaculate Wes Anderson film suddenly becomes one of a kind.