European broadcasters and producers are increasingly experimenting with AI-powered dubbing and localisation, as the industry balances authenticity with the need to reach wider audiences.
Speaking at Stream TV Europe in Lisbon, Caroline Cooper, CEO of Sky Entertainment Group, said Sky is testing new dubbing approaches as viewing habits evolve.
“We are now experimenting with bringing some dubbed versions of some of our Italian shows, rather than just the subtitle version,” she said. “There’s some quite cool AI tech… where you can take the dub and then also try and manipulate the lips so it’s a little less jerky.”
Cooper said the aim is to offer greater flexibility to audiences rather than enforce a single viewing model in a market that has traditionally seen international content as niche. “People need choice… some people just prefer to watch the subs or the dubs.”
However, Andreas Khevenhüller, VP international sales and acquisitions at Beta Film, warned that quality remains a barrier to widespread adoption.
“Not every AI dubbed or subtitled show is suitable… especially the classic linear broadcasters are used to very high quality standards,” he said, adding that the technology may be better suited initially to streaming and FAST environments.
The discussion formed part of a wider debate around what makes European content travel internationally, with panelists consistently highlighting authenticity as the key driver of success.
Cooper pointed to Sky dramas such as Under Salt Marsh as examples of locally rooted storytelling with global appeal. “A very British show… but high quality, elevated scripted, with a really good story, travels well.”
Marion Rathmann, GVP content and programming at Warner Bros. Discovery, echoed this from a factual perspective, arguing that emotional truth outweighs localisation.
“If the emotional truth is generic… the audience will follow,” she said. “We don’t focus on making these shows travel from day one.”
She cited titles such as Gold Rush and Deadliest Catch, alongside German production Steel Buddies, which travelled internationally despite being “unapologetically local in tone”.
From a distribution standpoint, Khevenhüller highlighted crime as the most consistently exportable genre.
“Genres like crime are actually the more successful ones… from high-end complex crime shows to more simple procedural shows,” Khevenhüller added, pointing to Professor T as a format that has been successfully adapted across multiple territories.
By contrast, comedy remains difficult to export due to cultural nuances, a view shared by José Fragoso, director of programmes at RTP.
“I think crime and thrillers… work very well. In contrary, comedy is not a good content to export,” he said, adding that co-productions are increasingly critical for smaller markets like Portugal.
Cooper also underlined the importance of focusing on local audiences first, warning against over-engineering shows for international appeal.
“Your North Star has to be your local audience… trying to cast for the ‘Euro pudding’ doesn’t generally lead to success,” she said.
Instead, panelists pointed to co-productions and casting decisions as key enablers of international reach. Cooper noted how the casting of French actor Tahar Rahim in Sky drama Prisoner helped open up additional European markets.
Looking ahead, the panel agreed that short-form and vertical video are becoming important testing grounds for new IP.
“Vertical content is… a testing field to see if this might work on a long-form… format,” said Khevenhüller.
Despite ongoing market pressures, the panel struck an optimistic tone, with Khevenhüller summarising the opportunity ahead: “Authenticity drives universality… the next Gomorrah is somewhere out there. You just need to find it.”
