From screen to reality: drama-induced tourism in non-touristic places Open Access

People are often drawn to visit the locations where their favorite TV dramas or movies were filmed, seeking to immerse themselves in the settings and narratives that captivated them on screen (Kim et al., 2009). Many tourists are motivated to visit these filming locations, thereby transforming previously non-touristic places into popular destinations, apart from increasing the popularity of those that are already tourist attractions. For instance, Jiangmen City in China has seen a boom in tourism from the TV drama Kuangbiao (Figure 1). A review of Jiangmen government’s official website indicates a significant surge in travel-related searches and bookings in Jiangmen following the conclusion of the TV drama Kuangbiao. In the two months subsequent to the series finale (as of March 2023), travel searches in Jiangmen had increased by 174% compared to the same period in the last year, while overall travel bookings had risen by 93% year-on-year. This phenomenon, known as film-induced or drama-induced tourism, offers a platform for destinations to gain global recognition (Riley et al., 1998; Beeton, 2005). Destinations featured in popular TV dramas often see a surge in visitors who are eager to experience the locations they have seen on screen (Kim et al., 2009; Beeton, 2006), which is beneficial for local tourism, as well as for economy of the non-touristic places. When media exposure through films and TV dramas promotes a favorable image to tourists, it can play a critical role in shaping potential tourists’ romantic expectations (Kim et al., 2009).

In this regard, the romanticized portrayal of these locations in dramas often leads to increased tourist consumption in areas that were or were not originally designed to hold large numbers of visitors. In the latter case, these destinations often lack the necessary tourism infrastructure and services, which can negatively influence the actual travel experience (Lee et al., 2011). While the increasing interest in drama-induced tourism, the majority of existing research has concentrated on its favorable aspects, such as increased visitor numbers and economic benefits (Kim et al., 2009; Tooke and Baker, 1996), especially in touristic places. For example, studies by Kumar and Dhir (2025) and Kim and Lee (2022), they have primarily reported positive outcomes, framing the phenomenon as a successful strategy for enhancing destination image and tourist mobility. These studies have emphasized the positive aspects of drama-induced tourism, which include its potential of boosting local economy and enhancing destination branding (Croy, 2011; Huerta-Viso et al., 2024; Martins et al., 2017). In contrast, research such as that conducted by Rasoolimanesh et al. (2020) has also examined famous locales, thereby unveiling underlying tensions and negative resident perceptions, thus revealing a more complex reality. Moreover, research on the actual tourist experiences in non-touristic places popularized by TV dramas remains scarce, particularly regarding dimensions beyond economic impact. This study therefore focuses on this particular aspect via examining tourism experience in drama-induced destinations where tourism was not a conventional business.

While drama brings a surge of tourist visitation and boosts the economy, understanding the consumption experience in these formerly non-touristic locations is crucial for tourism marketers and operators as well as the local management, to achieve a sustained effect. Tourists often develop expectations based on their emotional involvement to the TV drama, which can significantly influence their experiences and satisfaction when visiting these destinations (Kim, 2012b). Generally speaking, the desire of experiencing the settings of beloved stories in person often enhances the appeal of these destinations, allowing tourists deeply engage themselves with the scenes and narratives they admire on screen (Kim et al., 2009; Riley and Van Doren, 1992). Such engagement not only generates excitement but also creates a profound emotional connection to the destination, making the tourism experience more satisfactory (Kim, 2012b). However, the actual experiences of tourists may sometimes diverge from these romanticized expectations; and when the actual experience does not align with these preconceived notions, a phenomenon known as disconfirmation occurs (Oliver, 1980). This gap between expectation and reality may result in negative disconfirmation, which might lower their overall satisfaction and negatively influence behavioral intentions, such as reluctance to revisit or recommend the destination (Yüksel and Yüksel, 2001). Hence, it is essential to understand such negative consequences. However, in the field of drama-induced tourism research, there is limited research on how negative disconfirmation undermines tourism satisfaction and subsequent behavioral intentions. Most existing research on drama-induced tourism does not thoroughly address the adverse effects of unmet expectations (Oshriyeh and Capriello, 2022; MUCHIRI, 2023). This gap highlights the need for more focused investigations into the adverse impacts of negative disconfirmation on tourist satisfaction and future behaviors. While media exposure is a proxy for a satisfying experience, it remains underexplored in non-touristic places, and existing applications of disconfirmation theory have overlooked the buffering role of drama likability against negative disconfirmation.

Interestingly, the adverse impact of negative disconfirmation might be mitigated in certain situations. Specifically, the likability of the drama for tourists can play a crucial role in reducing these obstacles (Riley and Van Doren, 1992). Research indicates that strong emotional bonds with the TV dramas can enhance tourists’ overall experiences, making them more resilient to potential disappointments (Kim, 2012b). Tourists with a great sense of likability toward a drama are more inclined to overlook or rationalize disconfirming experiences, thereby maintaining a positive perception of their visit (Lee et al., 2015). This finding suggests that likability of the TV drama can significantly influence and often overshadow other factors, leading to a more satisfying tourist experience despite any discrepancies between expectation and reality. But the role of likability in diminishing the adverse effects of negative disconfirmation remains underexplored. This research tries to bridge this gap by testing the influence of likability in the process. Overall, the proposed causal logic posits that drama-induced tourism experience and negative disconfirmation influence overall satisfaction, which in turn drives behavioral intentions; notably, drama likability moderates both paths by amplifying the positive effect of experience and mitigating the negative effect of disconfirmation.

Using the case of Jiangmen, China, a city is not traditionally known as a tourist destination, but catapulted into the public eye by the popularity of the TV drama Kuangbiao offers a compelling study of this topic. The city’s sudden fame has brought it a surge in tourist arrivals, yet this newfound attention also presents a unique set of challenges. Therefore, this research uses Jiangmen as an example to explore how tourists consume drama-induced tourism in non-touristic places, where there is often a lack of well-developed tourism facilities and service. First, the study tries to examine how drama-induced tourism experience influence visit satisfaction and behavioral intentions. Tourists are attracted to these places due to the fame of the drama, and the images that they see on the screen. However, when the actual tourism experience falls short, negative disconfirmation occurs (Yüksel and Yüksel, 2001), which might have adverse impact on tourists’ satisfaction. Therefore, the second objective is to investigate how negative disconfirmation undermines tourists’ overall satisfaction and their subsequent behavioral intentions. Finally, the research intends to examine how likability of the TV dramas enhances tourists’ experience and mitigates the adverse influence of negative disconfirmation. The study adopted a quantitative approach and used a survey as the data collection tool. The study makes a contribution to the extant knowledge of drama-induced tourism, and provides practical implications for tourism marketers and destination authorities on how to enhance tourists’ experience in their future drama-induced tourism marketing and developing campaigns.

Disconfirmation theory, originally developed in consumer behavior field, demonstrates that customer satisfaction is measured by the discrepancy between anticipations and perceived performance (Oliver, 1980). According to this theory, satisfaction occurs when perceived performance fulfill or exceeds expectations (positive disconfirmation), while dissatisfaction arises when performance unmet the expectations (negative disconfirmation). This theoretical framework has been widely used in various contexts to understand how expectations influence consumer satisfaction and subsequent behaviors (Li et al., 2020). In the tourism field, disconfirmation theory has been extensively used to explore tourists’ satisfaction. Yüksel and Yüksel (2001) provided a critical review of the expectancy disconfirmation paradigm, highlighting its relevance in tourism research. They argued that tourists often form expectations based on pre-trip information, such as travel brochures, online reviews and word-of-mouth (WOM) recommendations. These expectations set a benchmark against which the actual travel experience is evaluated. When the on-site experience fails to meet expectations, a phenomenon known as negative disconfirmation occurs, leading to a decline in satisfaction and a reduced propensity to recommend the destination to others. Moreover, Schiebler et al. (2025) underscore the limitations of the conventional expectancy-disconfirmation paradigm, emphasizing that the strength of disconfirmation itself is determined by factors such as customer engagement and the actual performance level. This perspective is also applicable to the service field, as Zhang et al. (2022) demonstrated that the expectancy-disconfirmation model can predict citizens’ fulfillment with public services. Similarly, the strength of disconfirmation is associated with service type and citizen engagement.

Drama-induced tourism can be regarded as a form of service industry or experience economy (Oshriyeh and Capriello, 2022; St-James et al., 2018). Therefore, many studies have applied disconfirmation theory to film-induced tourism to examine how the alignment or misalignment of expectations affects tourist satisfaction. For instance, research by Justus et al. (2018) and Muchiri and Nthiga (2018) applied disconfirmation theory to examine tourists’ experience in different filming locations, and confirmed its determinant role in shaping tourists’ satisfaction. Wang et al. (2021) find that in rural China, the on-site “wow” counts more than prior expectations, which aligns with the experience economy perspective as Schiebler et al. (2025) aforementioned.

Film tourism (also named film-induced or drama-induced tourism) means the phenomenon where tourists visit a destination or attraction due to its exposure in media forms such as television, video or cinema (Hudson and Ritchie, 2006). Film-induced tourism can significantly impact tourists’ motivations and behaviors, as films often create compelling visual narratives that can stimulate interest in particular destinations (Beeton, 2005), and the phenomenon of film tourism has emerged as a worldwide popular topic (Chen, 2018; Kim et al., 2019). Therefore, the volume of research on film tourism has increased markedly. Examples include study of the influence of tourists’ perspectives of TV drama/film shooting sites related to socio-demographic and travel-related factors (Kim et al., 2015), and the impact of celebrity endorsements in influencing place attachment (Chen, 2018).

According to Volo (2009), the tourism industry considers the tourist experience as an important driver of value creation, which applies as well to the drama-induced tourism experience. The term “drama-induced tourism experience” has been clarified as the subjective feeling of drama tourists when they visit a destination with a cinematic connection (Kim, 2012b). This feeling is related to the event or activity that the tourist is engaged in during their visit, which is distinctive (Terzidou et al., 2018). Consistent with the preceding statements, the experience of drama-induced tourism emphasizes a re experience or a deeper engagement with drama attributes through exploration of the drama shooting site. When tourists visit a drama-induced tourism destination, they are transported into an alternative reality of fantasy that exists between the realms of imagination and reality (Carl et al., 2007). Consequently, drama-induced tourism experience represents the fundamental aspect of the entire phenomenon of drama-induced tourism.

Satisfaction is a psychological effect that is derived from an individual’s experience (Lee et al., 2007). This applies to the drama-induced tourism context as well, i.e. tourists’ satisfaction derives from their experience in drama-induced tourism (Connell, 2012). In addition, Otto and Ritchie (1996) argue that the satisfaction of tourists is largely determined by their experiences quality across different elements during their trip. In the context of drama-induced tourism, it is of importance to manage expectations regarding the experience to be gained, as films and TV shows often create strong, idealized images of locations, leading tourists to form specific expectations about what they will experience (Kim and Richardson, 2003). Alegre and Garau (2010) confirmed that tourists’ satisfaction is significantly affected by their fulfillment of expectations. That is to say, the degree of consistency between the on-screen descriptions of a destination and the actual experience is a crucial factor in determining the tourists’ satisfaction (Kim and Richardson, 2003). This phenomenon also can be explained through the lens of the expectation disconfirmation theory, which demonstrates that satisfaction is measured by the gap between previous expectations and actual experiences (Oliver, 1980). As observed by Connell and Meyer (2009), many film-induced tourists experience a sense of disappointment when they find that the attraction does not live up to the cinematic representation. According to Oliver (1980), when the actual experience does not match the tourists’ expectations, disconfirmation is likely to occur, which will directly influence overall satisfaction levels (Choi and Chu, 2001). Grounded in these findings, the hypothesis was formulated as below:

In tourism research, behavioral intentions can be defined as tourists’ willingness to return to a destination and promote it through oral recommendation (Andreassen and Lindestad, 1998). Satisfaction is an important signal of tourists’ behavioral intention (Oriade and Schofield, 2019), as it strongly influences tourists’ future behavioral intentions, including their inclination to revisit a destination and to suggest it to others (Yoon and Uysal, 2005). Therefore, greater satisfaction is often associated with positive behavioral intentions (Baker and Crompton, 2000). Chen and Tsai (2007) research findings corroborate this assertion, which demonstrated that tourists who are satisfied with their trip quality and perceived value are more likely to repeat visits to the destination and suggest it to others. Likewise, the experiences of satisfactory drama-induced tourism result in increased consumption of dramas, encompassing both re-watching films or TV dramas and revisiting drama shooting destinations (St-James et al., 2018). In addition, prior studies have been conducted on the subject. For instance, Kim (2012b) discovered that high levels of satisfaction engender a sense of loyalty to the film destination, thereby increasing probability of repeat visits. Similarly, research conducted by Teng (2021) indicates that overall satisfactory experience with film tourism significantly impacts tourists’ word-of-mouth behavior.

Given that tourism experience constitutes the central element of drama-induced tourism (Teng, 2021), the drama-induced tourism experience is intimately related with tourists’ overall satisfaction and behavioral intentions (Riley et al., 1998). Hudson and Ritchie (2006) also demonstrated that the immersive nature of film-induced tourism experiences can enhance tourists’ satisfaction and foster positive behavioral intentions. However, overall satisfaction emphasizes tourists’ evaluation of the quality of a specific attraction and its ability to fulfill their demands and anticipations (Ramkissoon et al., 2013). When tourists perceive the location as authentic and closely resembling its portrayal in the film, their satisfaction increases, leading to stronger behavioral intentions (Connell, 2012); otherwise there will be negative disconfirmation, which significantly influences tourists’ behavioral intentions (Yüksel and Yüksel, 2001). Wang and Hsu (2010) work focused on cultural heritage sites and they found that positive disconfirmation is strongly linked to tourists’ intentions to repeat visitation and recommend the site. Accordingly, Yuwono et al. (2024) emphasized the critical role of managing tourists’ expectations through accurate marketing and communication. Their research indicated that realistic expectations help reduce negative disconfirmation and enhance overall satisfaction, which in turn positively affects tourists’ revisit in Bali. Based on these previous research findings, the current research put forth the subsequent hypotheses:

Previous studies have demonstrated that the concept of likability applied to drama-induced tourism can be regarded as the degree to which an audience enjoys and feels positively about a media product, which exerts a crucial influence on tourists’ travel experiences and their behavioral intentions (Kim, 2012b; Lee et al., 2015). Connell’s (2012) work indicates that likability of a film or TV drama can enhance audience’s emotional connection to the shooting location, thereby increasing their desire to experience the place in real life. This emotional connection can lead to a more immersive and satisfying travel experience, as tourists seek to relive scenes and moments from their favorite films or TV dramas (Hudson and Ritchie, 2006). Moreover, Macionis and Sparks (2009) found that audiences with a high degree of likability toward TV dramas tend to have stronger intentions to visit the film locations. This finding suggests that likability not only influences the initial decision to visit but also enhances the drama-induced tourism experience and overall satisfaction, leading to positive behavioral intentions (Kim et al., 2007).

Although the concept of likability is not frequently employed directly in film-induced tourism studies, there are a number of related constructs within film-induced tourism research. For instance, the attachment theory has been used in understanding the influence of emotional bonds between tourists and film locations on their behavioral intention (Chen, 2023). Similarly, nostalgia has been demonstrated to enhance the appeal of film tourism destinations by fostering sentimental connections to past experiences or film stories (Kim et al., 2019). Para-social interaction, which is defined as the one-sided relationship audiences form with film characters, also critically shaping the appeal of a destination (Guo et al., 2022). Collectively, these findings emphasize that likability serves as a pivotal emotional driver, yet it is under-explored in film tourism field. Distinct from related constructs, likability refers to a general positive affective appraisal of the drama itself, whereas emotional attachment implies deeper bonds with specific characters or places (Chen, 2023).

The role of likability in drama-induced tourism is noteworthy. Even though tourists’ experiences fail to align with their expectations (negative disconfirmation) and result in dissatisfaction (Oliver, 1980), their emotional connection to the drama and its characters can alleviate their dissatisfaction with the visit (Kim, 2012a). Research by Kim (2012b) provides empirical evidence to support this notion, demonstrating that emotional connections to film characters can serve as a buffer against the negative effects of disconfirmation. Even if the actual destination does not fully meet expectations, likability of the drama can maintain high levels of satisfaction and positive behavioral intentions. Similarly, Hudson and Ritchie (2006) found that films and characters perceived as likable could enhance the overall image of the destination, encouraging repeat visits and recommendations regardless of minor discrepancies in the tourist experience. Connell (2012) also underscores the significance of likability in drama-induced tourism. He posits that tourists’ positive sentiments toward a drama can serve to reinforce their satisfaction and favorable intentions, even when the destination does not fully align with their expectations. This finding indicates that likability can act as a psychological buffer, mitigating the adverse effect of negative disconfirmation. In this regard, the subsequent hypotheses were proposed:

Figure 2 below shows the conceptualization of this study, as well as the hypotheses developed.

This study intended to investigate the factors affecting drama-induced tourism behavioral intentions by using a quantitative research design. The principal data was gathered using a structured survey, designed to assess the constructs of drama-induced tourism experience, negative disconfirmation with previous expectation, overall satisfaction, likability of the drama Kuangbiao and behavioral intentions. Partial least squares structural equation modeling (PLS-SEM) was selected for this study for two primary reasons. First, unlike covariance-based SEM, PLS-SEM does not impose strict assumptions of multivariate normality and is robust to non-normal data distributions (Hair et al., 2017). Second, PLS-SEM is well-suited for relatively small sample sizes and complex models with multiple moderating effects, as is the case in this study (Hair et al., 2017).

The objective participants for this research include tourists who have traveled to Jiangmen within one year since they watched the popular TV drama Kuangbiao. A convenience sampling method was used to enroll subjects. The questionnaire was disseminated online through Credamo, which is a platform for questionnaire distribution and collection. The official period of data collection was from June to July 2024. To ascertain an adequate reply rate and a requisite number of effective subjects, a total of 653 questionnaires were apportioned for distribution, 602 were retrieved, with 51 excluded due to incompleteness. The common method bias test confirmed that the study met the criterion of Harman’s single-factor test, indicating no appreciable common method effects (Podsakoff et al., 2003). The descriptive statistics showed in Table A1 ( Appendix).

The questionnaire incorporates five constructs. The Film Tourism Experience Scale (FTES), invented by Kim (2012a), containing 12 items, was used to evaluate the participants’ experiences of drama-induced tourism. Thereafter, a negative disconfirmation scale was adapted from Nam et al. (2020), comprising three questions that address key aspects of the construct. These aspects include the extent to which expectations were unmet, feelings of disappointment and dissatisfaction with the experience. Moreover, the scale worked effectively in prior tourism studies examining expectation-disconfirmation (Bao et al., 2025; Sun and Ly, 2022). The construct of overall satisfaction was adopted from Wu and Lai (2023), who adapted from Su et al. (2017). The behavioral intentions of the respondents were assessed using a three-item behavioral intentions scale, as invented by Wong and Lai (2015). Finally, likability of the drama was adopted from Lee et al. (2015).

A seven-point Likert scale was used for the assessment of all items, where 1 = “strongly disagree,” then 7 = “strongly agree.” The researchers have translated the initial components from English to Chinese. In accordance with the recommendations of Van de Vijver and Hambleton (1996), a backward adaptation was carried out to guarantee the reliability and accuracy of the translated material. A pilot test was carried out with 30 Chinese mainland tourists, with a purpose to refine the questionnaire. Table 1 shows the adjusted wordings of all items measured.

The demographic profile of the participants is presented in Table 2. Of the 602 participants, there were slightly more female participants (58.1%) than male participants (41.9%). A large proportion of the participants were young, with the age between 21 and 30 (39.9%) or 31 and 40 (45%), respectively. The majority of respondents hold university degrees, with a total of 75.4% of the respondents holding an undergraduate degree. With regard to occupational status, the largest proportion of respondents were enterprise employees (82.9%) and students (12%). In terms of monthly income, 42.7% of respondents earned 10,001 CNY or above, while 5.1% earned 1,999 CNY or less.

SmartPLS v.4.1.0.6 was applied to test the model, including its validity along with reliability. As the figures displayed in Table 3, all items’ factor loadings exceeded the 0.708 recommended cutoff point (Hair et al., 2017) for acceptable loadings. In alignment with the recommendations put forth by Hair et al. (2011), all Cronbach’s alpha along with composite reliability values exceeded the established criterion of 0.7. To verify the internal reliability of the constructs using reflective items, the researchers checked the values of average variance extracted (AVE) along with construct reliability, all values surpassed 0.7 and the AVE values surpassed 0.5. These indices meet Fornell and Larcker (1981) standards. Moreover, the divergent validity among constructs was evaluated in accordance with the criterion put forth by Fornell and Larcker (1981). Within this research, the mean standard deviation accounted for AVE pertaining to every construct must surpass the inter-construct correlations, thereby delineating the construct’s distinctiveness from all extant constructs within the model (Chin, 2010; Fornell and Larcker, 1981). Per Table 4, each measure in this study satisfied the aforementioned criterion.

For the structural component of the model, it was necessary to consider the importance of every path coefficient, the coefficient of determination R² as well as the predictive relevance Q² (Hair et al., 2017; Ali et al., 2018). The fit quality of the hypothesized model was assessed via the standardized root-mean-square residual (SRMR) (Hu and Bentler, 1998). A structural model’s predictive strength is reflected with R² value. As indicated by Hair et al. (2011), a model measured by an R² value exceeding 20% could be considered to possess rather high predictive power in consumer behavior study. According to this research, the R² for the endogenous latent variables – overall satisfaction (0.581), behavioral intentions (0.618). These results indicate that the model has good explanatory ability. The Q² was worked out using the PLSpredict procedure. The predictive utility of the model was confirmed, as all Q² values exceeded 0, demonstrating the exogenous construct’s predictive capacity for the endogenous constructs across all hypothesized relationships (Chen et al., 2022). The SRMR index reached 0.052, which is below the cutoff value 0.08 (Hu and Bentler, 1998), suggesting that the model is of an appropriate fit.

The significance of the paths was evaluated using the bootstrapping program with 5,000 resample size. Interconnections between the aforementioned constructs are elucidated in Table 5. To be specific, drama-induced tourism experience not only imposes a beneficial influence on overall satisfaction (β = 0.195, t = 5.255, p  < 0.001) but also favorably influences behavioral willingness (β = 0.174, t = 5.303, p  < 0.001), thereby proving H1 and H6. This suggests that tourists who are driven by their expectations from the drama tend to have enjoyable experiences, which enhance their overall satisfaction and revisit intentions. Furthermore, the results indicated that negative disconfirmation undermines both overall satisfaction (β = −0.349, t = 9.282, p  < 0.001) and behavioral willingness (β = −0.118, t = 3.462, p  < 0.05). Consequently, H2 and H7 were validated.

To examine the mediation influence of overall satisfaction, this research used the methodology of relative indirect effect ratio within PLS-SEM, including indirect effects and total effects. In Hair et al. (2017)’s study, VAF is defined as the indirect effect divided by the overall effect, and it can be classified into three categories of mediation. Values of VAF exceeding 80% indicate complete mediation; mediation is regarded as partial when VAF is with range of 20% to 80%; and no mediation is present when VAF is lower than 20%. Table 6 implies that the influence of film-induced tourism experience on behavioral intentions mediated by overall satisfaction has a VAF of 28.10%, which falls between the 20% and 80% range, implying that overall satisfaction partially mediated the relation between drama-induced tourism experience and behavioral intentions, therefore supporting H4. The impact of negative disconfirmation on behavioral intentions mediated by overall satisfaction has a VAF of 50.83%, indicating that overall satisfaction partially mediated the relation between negative disconfirmation and behavioral intentions. Therefore, H5 was supported.

To ascertain the potential moderating effect of the drama’s likability, a moderating examination was undertaken using Smart-PLS Bootstrapping. In PLS-SEM, a significant interaction term path coefficient indicates the presence of a moderating effect. The values shown in Table 7 indicate that the drama’s likability substantially moderated the effect of the drama-induced tourism experience (interaction term: β = 0.073, p  < 0.01) as well as negative disconfirmation (interaction term: β = 0.128, p  < 0.001) upon overall satisfaction. Furthermore, likability of the drama also shows the moderating effect of negative disconfirmation (interaction term: β = 0.084, p  < 0.001) upon behavioral intentions. Hence, H8, H9a and H9b received support. However, the effect sizes are relatively small, indicating that while likability plays a role, its influence is limited in practical terms. This implies that although tourists who enjoy the drama may be slightly inclined to visit filming locations or recommend them to others, its influence is relatively minor compared to other factors (such as actual tourism experience). It suggests that likability of the drama is not a primary driver of tourists’ travel intentions. Using simple slope analysis (Aiken and West, 1991), Figure 4 shows a negative relationship between negative disconfirmation and overall satisfaction, which was significantly weaker for tourists with high drama likability (β = −0.221, p  < 0.001) compared to those with low likability (β = −0.477, p  < 0.001). A similar buffering pattern was observed for behavioral intentions. These results confirm that drama likability attenuates the adverse effects of negative disconfirmation. Figure 3 illustrates the direct and moderating effects about the conceptual framework, as represented by the path coefficients. To further substantiate the buffering effects, simple slope analyses were conducted following the procedure recommended by Aiken and West (1991).

The research aimed to explore drama-induced tourism consumption in non-touristic places, investigate the adverse impacts of negative disconfirmation on tourist experiences and subsequent behavioral intentions, and examine how the likability of TV dramas moderates the above effects. The study adopted a quantitative method and collected 602 responses. The analysis led to several interesting findings. The results show that tourists’ drama-induced tourism experience favorably influences their overall satisfaction and behavioral intentions. Negative disconfirmation undermines tourists’ overall satisfaction and behavioral intentions. Likability of TV dramas enhances tourist experience but mitigates the adverse impact of negative disconfirmation.

The present study’s findings can be further linked to the theory of value co-destruction in tourism, where unmet expectations erode perceived value (Michopoulou et al., 2021). This aligns with the negative effects of disconfirmation observed in this research. However, Oshriyeh and Egger (2025) argue that the negative impact can be buffered by emotional bonds, similar to the likability of a drama. In addition, the construct of likability aligns with research on destination image repair and expectation management in film tourism marketing. As demonstrated by Michopoulou et al. (2022), positive emotional associations (such as likability of the drama) can facilitate the destination image building. Furthermore, the alignment of promotional messaging to create congruent expectations has been demonstrated to mitigate negative disconfirmation in film tourism (Teng, 2021). And these results make a few contributions.

This work makes a contribution to the conceptual insights of drama-induced tourism by examining how tourists consume drama-induced tourism in non-touristic places. Using Jiangmen, China, as an example, this research extends the scope of existing research on drama-induced tourism by focusing on tourists’ experiences at non-touristic destinations featured in TV dramas, particularly those that incur negative disconfirmation. Previous studies have predominantly examined how TV dramas attract tourists to filming locations, often highlighting the positive influences of media on tourism (Hudson and Ritchie, 2006). However, there has been few explorations of the negative experiences that tourists might encounter at these destinations, especially those that are formerly non-touristic places to start with. By addressing this gap, our research offers a more thorough understanding of the dual nature of drama-induced tourism experiences, encompassing both positive and negative dimensions (Connell, 2012).

In addition, our research confirms the role of likability in drama-induced tourism consumption, and reveals how it can further enhance the positive effect of drama-induced experience on satisfaction and behavioral intention, while buffer the adverse effects of negative disconfirmation on tourist satisfaction. This finding aligns with existing literature suggesting that emotional connections and likability can enhance overall perceptions and mitigate negative evaluations (Kim, 2012b).

Moreover, this research extends the employment of disconfirmation theory in the film-induced tourism field by integrating the moderating role of likability, which has been underexplored in extant studies. This theoretical contribution highlights the need for future research to account for the complex interplay between media-induced expectations and actual tourist experiences, thus enriching the literature on film tourism and disconfirmation theory (Oliver, 1980; Yüksel and Yüksel, 2001). This study refines disconfirmation theory by demonstrating that the negative impact of disconfirmation is contingent on drama likability, extending prior applications that treated expectation-performance discrepancies as a direct antecedent. The findings also challenge the implicit assumption in drama-induced tourism literature that media exposure alone ensures positive experiences (Kim and Richardson, 2003; Riley et al., 1998), revealing the dual role of likability in both enhancing positive experiences and buffering negative disconfirmation.

This study’s findings also contribute to broader tourism theories. For instance, Pine and Gilmore (2011) experience economy theory underscores the significance of memorable and emotionally engaging experiences, which drama-induced tourism has good potential in achieving, if factors such as likability can be taken note of. Furthermore, the study supports the service marketing frameworks proposed by Grönroos (1984), which demonstrates how the effective management of expectations can enhance service quality. The study also contributes to cultural production theory by highlighting how dramas act as cultural artifacts that shape destination image and drive tourism demand (Beeton, 2005).

The outcomes of this study offer actionable insights for tourism marketers and destination managers, particularly those involved in promoting drama-induced tourism. First, local authorities and tourism developers need to prepare non-touristic places for sudden influxes of visitors by enhancing tourism infrastructure and services. Anticipating the popularity surge due to TV dramas and ensuring these attractions are well equipped to handle large numbers of tourists can significantly improve tourist experiences and maintain high satisfaction levels. Second, the current research highlights the significant role of managing tourist expectations and experiences, especially when negative disconfirmation is likely to happen. Destination managers should strive to align the actual tourism offerings with the expectations set by the TV dramas to minimize negative disconfirmation and enhance tourists’ satisfaction. Third, the study underscores the importance of leveraging the likability that tourists have for TV dramas. Marketing efforts ought to emphasize the beloved aspects of the series, such as iconic scenes and characters, to bolster tourists’ emotional connections and buffer against potential dissatisfaction. This approach can help maintain positive perceptions and encourage repeat visits and recommendations even when some aspects of the visit fall short of expectations. Furthermore, tourism marketers should consider creating engaging and interactive experiences that deepen tourists’ engagement with the TV dramas. Finally, the findings suggest that destination managers should be prepared to address and manage negative feedback proactively. By acknowledging and addressing tourists’ concerns transparently, managers can demonstrate a commitment to improving the visitor experience, which can help mitigate the adverse impact of negative disconfirmation on satisfaction as well as behavioral intentions.

In addition, the local destination marketing organization should diversify their attractions and implement long-term strategies to sustain tourist flows after the initial hype fades. These strategies should include leveraging cultural heritage, and identifying more local tourism resources. For destination managers in non-touristic contexts, three operational strategies emerge: leveraging drama likability through on-site integration of iconic scenes, setting realistic pre-visit expectations that acknowledge infrastructure limitations, and rapidly deploying basic services during peak periods to address immediate expectation-performance gaps.

Though the research offers valuable understanding of the dynamics of drama-induced tourism, a few limitations need to be noted. First, the study focus on a single case (Jiangmen, China) which constrained the scope for extrapolating the findings. The reliance on a single drama (Kuangbiao) may limit generalizability across different genres or cultural contexts. Future research should consider a broader range of attractions popularized by different dramas and cultural contexts to assess and extend the applicability of the findings. Second, this research explores the moderating role of likability of the TV dramas but does not investigate other potential moderators that could affect the relation between negative disconfirmation, satisfaction and behavioral intentions. Future research should investigate additional factors, for instance the intensity of media exposure or demographic variables, to achieve deeper understanding into the complexity of drama-induced tourism experiences. In addition, the employment of convenience sampling via Credamo, while providing a sufficient sample size, has limitations including the issue of external validity. Future studies may address this by using sampling strategies that enhance generalizability.

The Ethics Review Committee at Macao University of Tourism approved our research, with the IRB approval number - 2024SCR/REVIEWS/001.