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The visitor economy of Forks now clearly relies upon a niche form of tourism – as fans of The Twilight Saga are drawn to the setting and filming location of the films. The purpose of this study is to consider the process of diversification and subsequently present recommendations that could inform a future diversification strategy for Forks, in preparation for a post-film tourism scenario.

The research methods employed in this study have two interlinked but distinct elements. Firstly, the Twilight Effect in Forks (WA, USA) is considered as an illustrative case study to shed light on the issues facing a destination that has seen a tourism boom as a direct result of popular culture – The Twilight Saga Franchise. Secondly, a scenario thinking and planning approach is applied when considering the “long-view” future of tourism in Forks.

This article presents a post-film tourism future scenario for Forks; it suggests tourism diversification and a shift towards cultural heritage and wellness. Forks is well placed to afford such tourism experiences, as it offers unique cultural and natural characteristics; furthermore, these could be utilised to create and maintain a distinctive destination image. In doing so a more socially and environmentally sustainable industry can be established, one which supports the local community, including the Quileute tribe.

The article offers original discussions within the film-tourism literature with novel approaches to understanding the management and pre-planning opportunities for destinations that have become popular film tourism locations, with the application of a “Tourism Diversification Model”. The model is adapted from Ansoff Matrix and can be applied as a framework in future studies exploring destination diversification. The investigation of Forks as a post-film tourism case study alone is unique, and the discussions and findings presented are original.

Amazon Explore is a new online experience product from Amazon, which offers live stream sightseeing of destinations around the world. This paper aims to provide a first insight into how exactly Amazon Explore enters the virtual experience (VE) industry, and discuss the possible implications of its business model for the future of virtual and offline travel experiences.

Qualitative and quantitative methods of content analysis methods were employed in this study. The sample of this research consisted of 175 Amazon Explore products. Firstly, the authors analysed the content of each product, and then quantitative method were used to present the data. With this analysis, the authors presented how Amazon Explore is testing the foundations for new business models, and discuss the possible implications for the future of tourism. One year later, those same Amazon Explore products were reviewed again to check development progress. The following were the main questions regarding VE: How interactive are Amazon Explore products? How does Amazon Explore aim to ensure the monetisation of these products in an economically sustainable way in order to go beyond the “freemium” business model, often associated with VE as just another destination marketing tool?

This article presents the discussions of VE and virtual reality (VR). The authors determined the level of interactivity of the diverse VE offered themes with a model of four levels of interactivity. The results show that the analysed products achieve mostly only low levels of interaction. Regarding monetisation, Amazon Explore shows three possible future directions in the development of VE: as a marketing tool, as an extension of the offline experience and as potentially someday replacing real travel as part of the future monetisation scenario.

The article offers the first insights into Amazon's extension into the realm of VE in two time periods in 2020 and 2021, and, based on these preliminary results, discusses four possible scenarios for the future development of VE monetisation.

The purpose of this paper is to highlight the potential of film‐induced tourism to provide sustained economic contribution to destinations.

The paper takes the form of a literature review and identifies the economic contribution made by film‐induced tourism.

It is observed that film‐induced tourism only provides a sustained economic contribution to destinations in exceptional circumstances.

Destinations need to incorporate film as a functional component of their management. Managers need to focus on the subtle roles film plays in destination awareness, motivation, and image and expectation formation. This focus is best deployed in connecting film audiences with the destination, and tourist experiences available.

The paper questions the emphasis placed on film as a tourism‐inducing agent and at same time, illustrates that film has a subtle influence and this requires further emphasis by destination managers.

This paper aims to consider dark tourism sites and their pivotal role as evidence of atrocity and evil. How they are interpreted and the role of visual imagery, most particularly photography, are considered from the perspective of the locations as heritage and learning sites. The complex arguments in relation to conservation and maintenance are juxtaposed with the behaviour of visitors in recording and uploading imagery of such material. This phenomenon allows us to consider the enormity of witnessing such events and viewing such sites as part of contemporary tourist behaviour.

The approach utilizes contemporary literature from tourism, sociology and film studies and uses secondary sources to highlight key sites that illustrate discursive elements of the paper.

This appeal and appetite for photographic and filmic record by visitors to such dark sites illustrates not only an inherent fascination but also a series of dark and recurring themes. However, it is also notable that in some locations, ideological selectivity in development is present and evidence, record and history are challenged. The cases of Cambodia and Russia and elements of their tragic pasts are used to illustrate why key heritage sites are developed as attractions or are ignored as evidential sites. For these reasons, this area still merits evaluation and discussion in tourism.

The area of dark tourism has been the focus of researchers for over a decade. However, the areas of selectivity in development, ideological impact on content and the issues related to visualization have not as yet been fully explored. This paper begins to explore issues related to visualization and evidence and how it related to these dark tourism sites.

The presence of fair trade coffee in cafés may help in strategic positioning and market differentiation. This paper aims to explore the extent to which this is evident for café customers.

Customers were surveyed on their perceptions of café and coffee attributes including taste, price and store atmosphere. Respondents were analysed by knowledge of the concept of fair trade, and by frequency and place of purchase.

The study finds that nearly half of respondents claimed moderate self‐assessed knowledge, although objective knowledge was lower. More knowledgeable customers cared more for fair trade products and for café atmosphere, of which fair trade promotional material plays a part. Customers stated they expected to pay more for fair trade coffee, although on average not as much as current margins require. When exposed to more information about fair trade, stated price premium support increased, but coffee taste expectations worsened.

Promoting fair trade coffee can help distinguish and position cafés, but not as much as was expected. Customer beliefs about the provision of fair trade products appear to have a stronger influence on their choices than actuality.

The paper contributes to understanding customer motives for purchasing fair trade coffee, particularly in the context of cafés/coffee houses, and for their patronage.