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Warning: This article contains SPOILERS for The Tourist .

Jamie Dornan opens up about the shocking ending of The Tourist . Created by Harry and Jack Williams, The Tourist centers on The Man (played by Dornan) who wakes up in a hospital with zero memory of who he is and how he got there. Spending the first of six episodes in a state of utter uncertainty, Dornan’s protagonist is helped along by Helen Chamber (Danielle Macdonald) , and the traffic cop helps The Man uncover the details behind the horrific car crash that led to his amnesia.

By the finale of the Australian-set series, it’s revealed that The Man is a drug smuggler named Elliot. Confronted by Lena Pascal (Victoria Haralabidou), a woman Elliot consistently has visions of, it becomes clear that Elliot’s actions in smuggling heroin inside people’s bodies led to the painful death of two women. It also led to Lena’s disfigurement, all of which she details in a searing monologue that makes plain how awful Elliot was before the crash and why someone would want him dead. This leads Elliot to the same conclusion, too, as he attempts to take his own life.

Related: HBO Max: Every Movie & TV Show Coming In March 2022

Speaking with EW to promote The Tourist , which is currently streaming on HBO Max , Dornan opened up about how difficult it was to film that reveal. The actor admits that it broke him, detailing how uncomfortable and uneasy it made him feel. Dornan’s quote is included below.

“It was crazy, that. So much of this character and this performance for me is, like any performance, you’re trying to stay present, but never more so than when everything is information that you’ve never heard before, particularly if it’s awful information, like that scene. I felt very raw in that moment, I felt very exposed, and vulnerable and kind of awful and terrible about myself. She was doing such beautiful work in front of me and it was having the impact that I felt that it should have. Sometimes you get yourself in a place where you feel so broken that you can’t actually stop crying. [Laughs] I felt a bit like that that day in a good way, I guess. I felt very exposed, very vulnerable. You know, it’s hard stuff to hear, the hardest stuff to hear, so a lot of that luckily was on the page for me in terms of the writing. But, yeah, not an easy day, that.”

Dornan, who goes on to mention that there have been conversations about a possible second season, previously spoke about how The Tourist was his most difficult role because he didn’t know anything about The Man. To go from there, only to learn of the banal evil of this protagonist had to have been as much a punch in the gut for Dornan as it was for the audience. For most of the HBO Max drama, Elliot is positioned as a good guy. Gruff, sure, and certainly flawed, but ultimately the hero of the story alongside Helen. It’s a difficult last-minute switch that Dornan sells perfectly.

Still, even though the reveal leads the audience down a dark path, it ends with hope. It’s heavily implied that Elliot survives his suicide attempt and begins a relationship with Helen. Perhaps, it suggests, in the long-run, that the memory loss provides Elliot with a chance to be a new person. It also opens the door for The Tourist season 2. And maybe, given that many viewers and critics enjoyed the lighter and more experimental aspects of the series, a second outing won’t have quite as bleak a twist.

More: Jamie Dornan Interview: The Tourist

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Jamie dornan in hbo max’s ‘the tourist’: tv review.

The actor plays an amnesiac in a deadly race to figure out his identity in this six-hour slice of Australian pulp fiction.

By Daniel Fienberg

Daniel Fienberg

Chief Television Critic

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Content bloat on cable and streaming is such an apparently incurable epidemic that even shows that play as lean and mean genre exercises are stuck oozing outside of their deserved boundaries — as if once there’s no marketplace for an idea to be conveyed at 90 minutes, might as well just go forever.

Something like Netflix’s True Story , which would have been an arthouse hit as a brisk John Dahl-directed theatrical thriller, instead became an instantly forgotten Netflix series, because that’s how it could get produced. Significantly better on every level, but still in need of a robust trim, is HBO Max ‘s The Tourist . Ideally, this would have been an Outback-set B-movie probably helmed by somebody like Phillip Noyce. Instead, it arrives on streaming as a six-hour drama replete with illogical misdirects, a second half that’s far less engaging than the first and a disappointing assortment of false conclusions.

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Airdate: Thursday, March 3 (HBO Max)

Cast: Jamie Dornan, Danielle Macdonald, Shalom Brune-Franklin, Ólafur Darri Ólafsson

Creators: Harry and Jack Williams

A story like this should be told without an ounce of fat. Yet even with its occasional excesses, The Tourist is a mostly taut, pretension-lite mystery with a vivid setting, a few surprises and a great trio of lead performances from Jamie Dornan , Danielle Macdonald and Shalom Brune-Franklin.

Created by Harry and Jack Williams and directed half by Chris Sweeney and half by Daniel Nettheim, The Tourist begins with what will prove to be its best set-piece, which isn’t always a great idea but in this case serves to get viewers well and truly hooked.

In a remote corner of rural Australia, a man (Dornan) with an Irish accent and no name stops for gas and a bathroom before resuming his drive. Before you can say “Hey, that’s the plot of Duel !” a truck emerges on the horizon, approaches the man’s car and tries to run it off the road. An intense pursuit ensues, all within the first 10 minutes, climaxing in the man waking up in a hospital with complete amnesia. Shot with acrid, epic scope by Ben Wheeler and edited without relief by Emma Oxley, it’s a sequence that is unique despite its familiar elements — one that’s so good that you probably won’t be offended by how little sense it makes once the show puts all of its cards on the table.

The Man doesn’t remember his name, his profession or why he was driving alone in a beat-up car on a stretch of road connecting nowhere to nowhere else, but his presence draws immediate attention. Offering benign curiosity is Probationary Constable Helen Chambers (Macdonald), trying to make a transition to legitimate policing after tiring of menial duties as a traffic cop. Offering more menacing curiosity is Billy Nixon (Ólafur Darri Ólafsson), a hulking figure with a bushy beard, a rumbling voice, a questionable American accent and a blood-red cowboy hat. And it’s hard to read the intentions of diner waitress Luci (Brune-Franklin), who may be attracted to The Man because of his resemblance to Jamie Dornan, or else she has ulterior motives.

For the first few episodes, The Tourist is wonderfully spare. A couple of secondary characters pass in and out, but the story is mostly The Man, Helen, Luci and Billy, any one of whom could be a threat to the others. As the Williams brothers open the story up, it invariably becomes less interesting and more reliant on heaping doses of exposition. We meet characters including an odd detective played by Damon Herriman and some unsavory Greek gangsters. All of the characters are in the middle of their own identity crises, and while The Man is the only one who literally doesn’t know who he is, each person here is pondering existential questions about whether people can change; whether that change is a matter of personal choice; and whether it’s as simple as forging a passport or moving to a new country or making up different origin stories involving your mother or father.

From the too-clever-by-half backwards storytelling of Rellik to the structural mendacity of Liar , the Williams brothers are good at high-concept thrillers driven by tricky plot mechanics, and this fits that category more than other Two Brothers Pictures creations like the tormented The Missing . The more gaps in The Man’s story they expose, the more interesting The Tourist is; the more those gaps get filled in, the less interesting the resulting shape of the puzzle feels.

None of the answers is exactly infuriating and some of them play very well in the moment — the fifth episode is a straight-up backstory dump, but the creators find a way to make it amusing — but the more distance you get from the full story, the more you may find that very little holds together. It’s possible to concentrate on the occasional shootouts, a flimsy-but-taut storyline lifted from the Ryan Reynolds movie Buried and one stunning outback vista after another, and still be limitedly bothered by lapses in common sense.

It helps that this is probably the funniest of the Williams brothers thrillers, a reminder that as producers their credits also include the very fine Back to Life and the spectacular Fleabag . If you think the plot strains credulity, so do many of the characters, and there are crackling exchanges of dialogue, silly pieces of flirtation and enough quirky and outsized figures to make it clear that if Duel was the series’ table-setting inspiration, most of what follows is basically Fargo with a greater risk of kangaroos.

Dornan is probably too hunky to be inherently ideal as the Hitchcockian Everyman, but The Man is a savvy encapsulation of Dornan’s varied skills, especially those he’s been showcasing in his projects from the past year-ish. He has compelling chemistry with both Macdonald and Brune-Franklin, he’s generally convincing as a sturdy action lead and he has an underlying menace that lets you wonder if the man that The Man used to be might not be so virtuous. Best of all — and this will not shock the Barb and Star hive — Dornan is an adroit comic performer, whether it’s expressing Irish-accented confusion about a fluffy stuffed koala or any of the bickering that characterizes The Man’s relationships with Helen and Luci. He weathers all of the reveals about his character, up to the finale’s conclusive twists. It’s just a darned good performance in a show that hinges on its lead.

Macdonald is, at some points, nearly a co-lead and the Patti Cake$ star brings nervous humor and the real emotional hook to the story, maintaining the character’s integrity in the face of a sometimes sweet, mostly unappealing engagement to Greg Larsen’s brutally passive-aggressive Ethan. I wish somebody had written more actual traits for Brune-Franklin’s Luci, but the simmering interactions with Dornan keep the show going through its slower parts. Herriman’s guessing-game strangeness and Ólafsson’s garrulous intimidation are responsible for the show’s most Coen Brothers-y elements.

At six hours, The Tourist ‘s focus wavers, but its momentum remains solid; in a spring of self-important ripped-from-headlines TV storytelling, I appreciated its pulpy drive. And that “Shouldn’t this be a couple of hours shorter?” sensation? Well, I guess that’s just a permanent condition.

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Beautiful, interesting, incredible cinema.

THE TOURIST

A man is pursued by a vast tank truck trying to drive him off the road. He wakes in hospital, hurt, but somehow alive. However, he has no idea who he is, so he searches for answers propels him through the vast and unforgiving outback.

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Film tourism market is anticipated to increase at a high cagr of 6.8% during 2022 - 2032 | future market insights, inc..

NEWARK, DE / ACCESSWIRE / September 27, 2022 / As per a recent market analysis by Future Market Insights (FMI), the film tourism market is poised to reach a valuation of US$ 66.7 Bn in 2022. Sales are projected to increase at a 6.8% CAGR , with the market size reaching US$ 128.78 Bn by 2032.

The film tourism market is forecasted to grow at a consistent growth rate during the forecast period. This is majorly attributed to the growing popularity of global content and the trend of cultural integration. The parent market for Film Tourism I.e. Cultural Tourism has been on an upward growth for a long time due to globalization. These factors along with multiple other nudges have helped the film tourism market gain mainstream popularity and a highly lucrative market. The rise of film tours across the world to locations where the films have been shot, the production sets, film festivals, etc. have helped the firms increase their service offerings.

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The introduction of streaming services and increasing penetration of internet connectivity across the world has also helped immensely in making the different content globally famous. This along with the low cost of international travel and ease of availing accommodations has also made a significant impact on the growth of the film tourism sector. Untapped tourist locations get the limelight from the international broadcast of the films, documentaries, or shows filmed there.

Film locations and sets can be visited round the year making the film tourism sector consistent and safe from the seasonal aspects that other tourism markets suffer. This along with the ease of providing such tours has made the film tourism sector an easy market for new firms to enter.

Key Takeaways from the Film Tourism Market Study:

The North America and Asia Pacific regions hold a market share of ~32.6% and ~35% respectively.

The Covid-19 pandemic had a 45% impact on the value of the film tourism sector.

New Zealand, the USA, France, India, Japan, the UK, and Ireland are some of the most popular destinations for film tourism.

Film sets and theme parks are the most popular location types in the film tourism market.

Online booking channels lead the charts in film tourism market booking channel segmentation.

"Customer satisfaction and a wide number of product offerings will be the key to grabbing the market leadership." - FMI Analyst said.

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Impact of COVID-19

The COVID-19 pandemic impacted the film tourism market negatively. The spread of the virus put a halt to travel around the globe; authorities around the globe implemented a lockdown that led to restriction of movement for anything that was not essential, this included tourism as well. The film tourism sector was left in a dire situation due to all these factors. Firms in the market devoted this time to rethinking their strategies and coming up with better services once the pandemic slowed down.

Post the slowdown of the pandemic the film tourism sector saw a resurgence in tour activities. Consumer demand slowly picked up, and then surged after the restrictions were fully lifted. The pent-up demand for travel saw the firms getting a lot of consumers immediately, improving the state of the market and setting it on a track of growth.

The Film Tourism Sector by Category

By Location Type:

Destination

Film Festivals

By Booking Channel:

Phone Booking

Online Booking

In Person Booking

By Tourist Type:

International

By Tour Type:

Independent Traveler

Package Traveler

By Consumer Orientation:

By Age Group:

15-25 Years

26-35 Years

36-45 Years

46-55 Years

66-75 Years

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Who is winning?

By providing all-inclusive packages and sparing travelers from the trouble of navigating several channels for their excursions, the major players are able to keep their competitive advantage in the market. Government investments and initiatives are stimulating the market, and they have also assisted businesses in enhancing their service offerings.

The key players in the film tourism market are IIFTC, MP Tourism, Tourism Film Destinations, Scallywag Travel, and Onlocationtours.

Get More Valuable Insights

Future Market Insights, in its new offering, provides an unbiased analysis of the global film tourism market, presenting historical demand data (2017-2021) and forecast statistics for the period from 2022 to 2032. The study divulges compelling insights on the film tourism market based on Location Type (Film Sets, Destinations, and Film Festivals), By Booking Channel (Online Travel Agents, Traditional Agents, and Direct Booking), By Tourist Type (Domestic and International), By Tour Type (Independent Traveler, Package Traveler, and Tour Group), By Consumer Orientation (Men and Women), By Age Group (15-25 Years, 26-35 Years, 36-45 Years, 46-55 Years, and 66- 75 Years) & Region - Forecast to 2017 - 2032.

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Future Market Insights, Inc. is an ESOMAR-certified business consulting & market research firm, a member of the Greater New York Chamber of Commerce and is headquartered in Delaware, USA. A recipient of Clutch Leaders Award 2022 on account of high client score (4.9/5), we have been collaborating with global enterprises in their business transformation journey and helping them deliver on their business ambitions. 80% of the largest Forbes 1000 enterprises are our clients. We serve global clients across all leading & niche market segments across all major industries.

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SOURCE: Future Market Insights, Inc.

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