Over the last two decades, research in audiovisual translation (AVT) has been thriving. Yet, it has often been limited to the technical and linguistic constraints at play in the different audiovisual translation modes, the production process, and the quality of the translated work (Gambier 2006). So far, the people who actually make use of the translated content seem to have been largely overlooked by AVT scholars. As Gambier (2009: 52) notes, ‘[v]ery few studies have dealt with the issue of reception in AVT, and even fewer have looked at empirically [sic], even though we continually make references to readers, viewers, customers, users, etc’.