Arianna Pulidori promoted to senior localisation executive at Prime Video

CALIFORNIA: Arianna Pulidori has just been promoted to senior localisation executive at Prime Video and Amazon MGM Studios, and if there is a more fitting career for the streaming era than the one she has built, it is hard to think of it. Every subtitle you half-read, every dubbed voice that almost matches the actor’s lips, every foreign-language hit that somehow lands the joke in translation: that is Pulidori’s world, and she has spent nearly two decades quietly mastering it while the rest of the industry obsessed over content spend and platform wars.

Her rise inside Amazon alone tells the story. Pulidori joined Prime Video and Amazon MGM Studios in March 2022 as localisation manager, moved up to localisation executive in March 2024, and has now, after four years and five months at the company, been elevated to senior localisation executive, overseeing dubbing and subtitling quality workflows and linguistic standards across multiple markets. That is a steady, unglamorous climb through an industry function most viewers never think about until it goes wrong, at which point it becomes the only thing anyone talks about on social media.

The backstory explains why she was ready for it. Before Amazon, Pulidori spent two years as localisation manager at Warner Bros Entertainment, and before that nearly three and a half years at Deluxe Entertainment Services Group, first as senior account manager and then, notably, as account manager on the Warner Bros account itself, supervising a team of four through the transition from tape-era dubbing workflows to modern technology and systems. Before any of that, six years as project manager and technical director at Broadway Dubbing in Burbank, plus a stint as a freelance English-to-Italian translator on the side. This is not a career built on a single lucky break; it is one built on repeatedly being the person who makes the technical and creative sides of dubbing actually talk to each other.

There is a genuinely interesting industry point buried in this résumé. Localisation used to be a back-office cost centre, the department that got a title translated after the real decisions had already been made in Los Angeles. Streaming blew that model up. Amazon, Netflix, Disney and the rest now compete on how convincingly a Korean drama plays in Portuguese or a Spanish thriller plays in Hindi, because a botched dub is a five-star review lost and a subscriber churned. Pulidori’s own qualifications, spanning TMS and CAT tools, quality control, budgeting and client relationship management, read like a job description written for exactly this shift: localisation as a strategic function, not an afterthought.

None of this will generate headlines the way a studio greenlight or a streaming subscriber number does. But the next time a dubbed line lands with the right emotional beat in a language its writers never spoke, there is a reasonable chance someone with Pulidori’s training had a hand in getting it there. In an industry increasingly defined by how well content travels across borders, that is not a small thing to be good at.