year, it was a total blackout.

Hollywood’s A-listers on Sunday turned out en masse in black — a sartorial show of force to draw attention to sexual harassment in showbiz and other industries, a culture of abuse revealed in the downfall of Harvey Weinstein and others.

“ON SUNDAY WE WEAR BLACK to stand in solidarity with men and women everywhere who have been silenced by discrimination, harassment and abuse,” said a tweet from the Time’s Up initiative launched by hundreds of prominent women in Tinseltown to shine a light on the issue.

Women and men alike strutted into the Beverly Hilton for the gala event in their finest, the wide majority of them in basic black.

“People are aware now of a power imbalance. It’s led to abuse in our industry. (…) It’s everywhere,” Meryl Streep, who is vying for a Globe for her work in media drama “The Post,” told E! network on the red carpet.

Streep — who has come under fire over her denials that she knew about Weinstein’s misconduct — brought Ai-jen Poo, the head of the National Domestic Workers Alliance, as her plus one.

Indeed, the women behind the Time’s Up initiative have called special attention to their “sisters” in less than glamorous blue-collar jobs.

Streep, a three-time Oscar winner, said Hollywood’s men and women now felt “emboldened to stand together in a thick, black line.”

Indeed, the men of Hollywood took some flack ahead of the gala for saying they too would wear black, with some saying they would have worn tuxedos anyway.

But many donned black shirts as well, and offered their impassioned support for the movement.

“I don’t think this is a silent protest. This is going to make people talk about the issue,” David Thewlis, who starred in last year’s box office smash “Wonder Woman,” told AFP on the red carpet.

“As a father, as a husband, why wouldn’t you be 100 percent in support of this?”

– ‘Awakening’ –

Streep was not the only actress who walked the red carpet with an activist.

Michelle Williams (“All The Money in the World”) arrived with Tarana Burke, the creator of the #MeToo hashtag that exploded in the wake of the revelations about Weinstein as women recounted their experiences online.

Amy Poehler entered with Restaurant Opportunities Center United president Saru Jayaraman.

The protest movement did not preclude Tinseltown’s finest from making fashion statements.

Oscar winner Catherine Zeta-Jones, who starred in last year’s hit TV series “Feud: Bette and Joan,” opted for a daring sheer lingerie-inspired black gown with plenty of artfully placed sequins — and emerald green earrings.

Alicia Vikander’s gown had a rather Victorian buttoned-up bodice with full coverage, sheer sleeves — and a bare back.

The only pops of color were minor — a streak of bright green eyeshadow here, a snippet of white fabric at a neckline there, or an orange sash at the waist.

“Tonight is not a mourning. Tonight is an awakening,” actress-director Amber Tamblyn wrote in an opinion piece for The New York Times.

The Department of Labor’s Occupational Safety and Health Administration (OSHA) said it had cited Stalwart Films for “failing to protect employees from fall hazards while filming the television show ‘The Walking Dead.'”

“OSHA issued a serious citation and proposed penalties totaling the maximum allowable fine of $12,675,” it said in a statement.

John Bernecker died in hospital in July after falling 22 feet (6.70 meters) from a balcony headfirst onto concrete during filming in Senoia, Georgia.

An assistant director told police Bernecker missed a safety cushion “by inches” and tried to break his fall by grabbing a railing after he slipped, celebrity news website TMZ reported at the time.

Film and TV shows released last year were among the worst in recent history for serious accidents on set — most of which happened during filming in the previous two years.

Stunt pilot Alan Purwin and Venezuelan co-pilot Carlos Berl were killed in 2015 when their plane crashed in Colombia during filming for Tom Cruise’s “American Made.”

Cruise himself broke an ankle during a stunt last year, although that was for a 2018 movie, “Mission Impossible 6.”

Olivia Jackson, a stunt double for “Resident Evil: The Final Chapter,” was severely injured in a motorcycle accident on set in South Africa in 2015, leaving her in a medically-induced coma for two weeks.

Her horrific injuries included brain trauma, a severed artery in her neck, broken ribs, a shattered collar bone and nerves torn out of her spinal cord. Her left arm had to be amputated.

Days later, crew member Ricardo Cornelius was crushed to death by a utility vehicle that slid off a platform he was operating.

In 2016, a construction worker was killed while dismantling one of the sets for “Blade Runner 2049” in Budapest, Hungary.

OSHA Atlanta regional administrator Kurt Petermeyer said the death on the set of “The Walking Dead” should serve as a “wake-up call” for Hollywood.

“The entire industry needs to commit to safety practices for actors and stunt people involved in this type of work,” he added.

Bernecker’s resume included stunt performances in several recent films, including “Get Out,” “Logan” and “The Fate of the Furious.”

Stalwart Films circulated a statement to US media describing Bernecker’s death as “a tragic and terrible accident,” adding that it complies with — and frequently exceeds — industry safety standards.

“We disagree with the issuance of this citation and are considering our response,” it added.

The popular Taiwan Film Festival returns to Bangkok this month with eight Taiwanese films and two Thai films screening from January 17 to 23 at Quartier CineArt, EmQuartier.

Presented by Taiwan’s Culture Ministry and the Taipei Economic and Cultural Office in Thailand, this year’s edition is curated by Kriengsak “Victor” Silakong, director of the World Film Festival of Bangkok.

The festival opens with Laha Mebow’s “Hang in There, Kids!”. The first female Taiwanese aboriginal film director, Mebow won critical acclaim for her drama, which was selected as Taiwan’s entry for the Best Foreign Language Film at the 89th Academy Award. It tells the story of three ethnic kids who grew up in the mountains and the forest. Optimistic, energetic and playful, they are also troubled by their own family issues. One day, they discover their handicapped teacher’s wonderful voice on a musical audition tape and decided to bring the tape to the capital Taipei, a journey that will change their lives forever.

Also screening is “A Fish out of Water”, the first full-length feature by music video and TV commercial editor Lai Kuo-An.

It’s centred on a squabbling couple, the wife’s ailing father-in-law who cannot help himself, the couple’s only son who insists that mum and dad help find his parents in his past life. The film had its world premiere at the 2017 Toronto International Film Festival.

“Godspeed” a black comedy heist directed by Chung Mong-Hon and starring Hong Kong actor Michael Hui, Lin Yu-Chih and Thai actor Vithaya Pansringarm tells the story of a jobless punk who often engages in stealing. After deciding to find a stable job, he becomes a drug trafficker quite by accident and while transporting heroin, he and a taxi driver are dragged into conflict between gangsters.

“Missing Johnny” directed by female first-time feature director Huang Xi, who worked with veteran director Hou Hsiao-Hsien before deciding to go solo, tells the humorous story of three individuals: a young woman who raises parrots and is persistently fending off wrong numbers; a young man who struggles with the constant breakdown of his car; and an autistic teenager who tries to free himself from his protective mother. The lives of the three intersect when the young woman’s parrot goes missing.

Documentary “Ode to Time” directed by Hou Chi-Jan (“One Day”, “When a Wolf Falls in Love with a Sheep”) follows a group of veteran musicians as they reunite after four decades. As they reprise the songs they wrote in the’70s, the unpredictability of life, the cruelty of fate and the complicated relations between Taiwan and China are gradually revealed. The film made its debut at the Tokyo International Film Festival.

Chu-Hsien-Che’s “White Ant” focuses on a man with an uncontrollable fetish for women’s underwear. One day, he receives a video recording of himself caught in the act of stealing female lingerie that leads to tragic consequences. The film earned praise for its exploration inside the dark side of the human mind. It was selected for the Busan, Singapore, Hong Kong and Taipei International Film Festivals.

“The Laundryman” by rookie feature director Li Zhong stars Chang Hsiao-chuan, best-known for its roles in “Girlfriend Boyfriend” and “Eternal Summer”, Sonia Sui and Wan Qian, is a comedy about a contract killer haunted by the ghosts of his victims. Following a suggestion from his boss that he seek help from a psychic, he is shocked to find that the laundry is hiding secrets.

Also showing is the newly restored 1991 film “A Brighter Summer Day” by Edward Yang. The four-hour film was inspired by the director’s true experience as a youngster and tells the story of Taiwanese teenagers in the early ’60s when crimes rocked the nation.

Victor has also selected two Thai films for the festival. “Phantom of Illumination” is a documentary by Wattanapume Laisuwanchai that depicts the decline of standalone cinemas in Thailand, which causes a film projectionist to lose his job. The film got Special Mention Award at Copenhagen International Documentary Film Festival in Denmark and was shown at the Salaya International Documentary Film Festival, Singapore International Film Festival, and Taipei International Film Festival.

Last but not least is the 1984 classic “The Story of Nampu” directed by Euthana Mukdasanit and starring Amphol Lumpoon and Wasamon Watharodom. Nampu is a young man from a broken family searching for meaning in his life but instead becomes a drug addict. The film was selected as the Thai entry for the Best Foreign Language Film at the 57th Academy Awards.

Coming soon

– The 2018 Taiwan Film Festival in Bangkok will be held from January 17 to 2018 at Quartier CineArt, the EmQuartier, Sukumvit Soi 33.

– Tickets costs Bt160 for all films except the four-hour “A Brighter Summer Day”, for which Bt250 will be charged.

– All films are screened with English and Thai subtitles.

– Find out more at http://www.MajorCineplex.com.

“The Last Jedi” earned $66.8 million over the four-day holiday weekend in North America, for a $531.5 million domestic total since its opening three weeks ago, said industry watcher Exhibitor Relations.

Disney announced on Sunday that the movie had passed the $1 billion mark worldwide after just three weeks, and the latest figures cement its position as 2017’s most successful film in North America ahead of another Disney property, “Beauty and the Beast” ($504 million).

“The Last Jedi” stars Daisy Ridley, Oscar Isaac, Adam Driver and two members of the series’ original cast, Mark Hamill as Luke Skywalker and the late Carrie Fisher as Princess Leia.

Its domestic earnings come on top of an international take estimated at $534.8 million, Disney said in a statement Tuesday.

The entertainment giant — which owns live-action and animation divisions as well as Pixar, Marvel and “Star Wars” producer Lucasfilm — added that its $6.5 billion global total for 2017 had given the company its second biggest year ever and the third largest in history.

It is the second consecutive year Disney has surpassed the $6 billion mark.

“We couldn’t be more grateful to all the movie fans around the world for their support,” said Walt Disney Studios chairman Alan Horn.

“This success is a tribute to the incomparable team at The Walt Disney Studios and The Walt Disney Company and to the amazing filmmakers and talent we’re fortunate to have making these pictures with us.”

While “The Last Jedi” ruled at home, Disney’s “Beauty and the Beast” was the number one film globally in 2017, with a worldwide take of $1.3 billion.

Other Disney big-hitters included two Marvel movies — “Guardians of the Galaxy Vol. 2” ($863.6 million) and “Thor: Ragnarok” ($848.8 million) — and “Pirates of the Caribbean: Dead Men Tell No Tales,” which brought in $794.8 million.

Holiday viewership provided a boost not just for “Jedi” but for Sony’s family adventure “Jumanji: Welcome to the Jungle” which came in a shade behind on $66.3 million in North America.

In third was “Pitch Perfect 3” from Universal, at $21.7 million for the four days. The cast, led by Anna Kendrick, follows the continuing adventures of glee singers the Bellas.

Next was “The Greatest Showman,” from Fox, at $20.9 million. The musical features Hugh Jackman as legendary circus impresario P.T. Barnum.

In fifth spot was the animated family feature “Ferdinand,” the story of a peaceful Spanish bull forced to take on the world’s most famous bullfighter. The Fox film netted $14.9 million.

Rounding out the top 10 were:

“Coco” ($10.1 million)

“Darkest Hour” ($7 million)

“Downsizing” ($6.25 million)

“All the Money in the World” ($6.19 million)

“Father Figures” ($5 million)

While most Thai movies failed to rake in the profits in 2017, it would be unfair to call it a bad year for the industry. Hope of regaining our position on the regional stage came with the international success of the GDH film “Chalard Games Gong” (“Bad Genius”), which not only wowed our neighbours in Asean but won the hearts of moviegoers in the notoriously tough Chinese market, grossing Bt1.13 billion in box office takings.

A clever caper centred on a group of straight-A students who dream up a scheme to cheat in the international exam by using different time zones, picked up Bt112.5 million at the local box office, making it the highest scorer of the year.

Two other movies also proved successful at home – “Mr Hurt” and “Som Phak Sian” – both of which earned more than Bt100 million. The former gave new hope to indie studio Transformation after a series of flops, leading the company to announce four new movie projects. The first of these, “Premika Paa Rab”, hit cinemas yesterday.

In another first for Thai cinema, Thanwarin Sukhaphisit’s 2010 drama “Insects In the Backyard” finally opened at a mainstream cinema. Banned under the provisions of the 2008 Film Act for its subject matter – two teenagers being raised by their transvestite father – Thanwarin battled in the courts for seven years to get the ban lifted.

It wasn’t a very good year for veteran producer Visute Poolvoralaks, who walked away from GTH to set up his own company T Moment. His debut release, the comedy “Oversize Talai Phung”, failed to stir up much excitement and left the big screen even more quietly than when it arrived. The studios other projects seem to be on hold but movie buffs will be hoping this changes in 2018.

And speaking of 2018, the programme for the year is all set to kick off with the animation “9 Satra” (“The Legend of Muay Thai”), a strange blend of computer game, movie and animation that combines Thai kick boxing with action fantasy. It centres on a lad trained in muay thai who takes the powerful weapon known as 9 Satra to the prince in order to protect their land and take down a monster. Film fans are already speculating whether a local anime can complete with topstandard animations from Hollywood and Japan.

Also coming up next month is “Rak Kham Luad” by veteran TV drama director Marut Sarowat. It’s about a transvestite showgirl who wants a perfect family like other women.

February will see the homecoming of two Thai movies that have been earning rave reviews and accolades from international festivals. First up is Pen-ek Ratanaruang’s long-awaited opus “Samui Song”, which premiered at the Venice International Film Festival. Being released here as “Mai Me Samui Samrab Ther”, it tells the story of Viyada (Chermarn Boonyasak), a famous actress who is married to Jerome (Stephane Sednaoui), a devout disciple of a strange cult led by “The Holy One” (Vithaya Pansringarm). When Viyada decides she can no longer stay in her marriage, she hires Guy (David Asavanond), a mysterious man with a sick mother to kill him. From there the story takes several strange turns, but the thrust, according to Pen-ek, is an examination of the identity of women in Thai society.

Also opening in February is “Malila” (“The Farewell Flower”), Anucha Boonyawatana’s award-winning film that won her Best Director at the Singapore International Film Festival and Best Film at the Busan International and Golden Horse festivals.

The film, which opens on February 15, has Sukollawat Kanaros and Anuchyd Sapanphong in the roles of Shane and the terminally ill Pitch, two men reunited after years apart. The second part of the film focuses on Shane’s spiritual redemption through Buddhism.

Another Thai filmmaker flying high on international circuit is cinematographer Sayombhu Mukdeeprom, who is winning media attention for his work on the hit gay drama “Call Me By Your Name”. Already nominated for best cinematography at the Independent Spirit Awards and likely to earn more nods as awards season marches on, Sayombhu worked with Apichatphong Weerasethakhul on several of his full-length features including his debut “Dokfah Nai Mue Man” (“Mysterious Object at Noon”) and “Uncle Boonme Who Can Recall His Past Life”, which won the Palme d’Or from the Cannes Film Festival. He was also behind the camera for Kongdej Jaturanrasame’s “Cherm” (“Midnight My Love”).

Known for his refusal to shoot movies in digital format, he has moved on to international productions including the Portuguese-French outing “Arabian Nights”.

Next year he will return to work on the Thai film “Nakhee 2”, a sequel to the hit TV drama of the same name. Phongpat Wachirabanjong, who directed the TV series and who worked with Sayombhu on “Me Myself” and “Happy Birthday”, is back at the helm for “Nakhee 2”.

The movie version replaces the TV protagonists Nattaporn Temeeruka and Phupoom “Ken” Phongpanu with Nadech Kugimiya and Urassaya “Yaya” Sperbund – a couple in real life too – but fans of the drama are casting doubt whether the pair can pull it off.

“Nakhee 2” won’t be the only challenge TV actress Yaya is facing in 2018. She is also slated to star in the GDH romantic comedy with the working title of “Brother & Sister”. Vithaya Thongyooyong directs and Sunny Suwanmethanont and Nichkhun Horvejkun of Korean boy band 2PM also star.

GDH apparently has another two movie projects in hand though no announcement has yet been made and Sahamongkol Film Company is likewise keeping mum, though it is almost certain that the sequel to the action fantasy “Khun Phan”, currently being filmed, will be in cinemas sometime in the next few months.

Poj Anon, one of Thailand’s most productive directors, put a brake on his projects after his latest film “Kad Krachak Grean” (“Zombie Fighters”) drew little interest.

In 2018, his first release will be “Luang Pee Jazz 5G”, a sequel to the successful 2016 outing “Luang Pee Jazz 4G”. But the film appears to have problems before it even comes out. The music video complete with clips from the movie were recently released and annoyed many people by showing footage of a mother and son whose bad behaviour after being stopped for a traffic violation went viral and annoyed everyone who saw it. The two are appearing in the film and this time will be seen haranguing a monk. Their inclusion has led to several people deciding to boycott the film and urging others to do the same.

The eighth installment of the blockbuster space saga topped the charts in North America for a second week, according to box office tracker Exhibitor Relations, pulling in $99 million from Friday through Monday to rack up total earnings of $395.6 million since it opened last weekend.

Christmas week is traditionally a time when studios flood the screens with new releases, and the Star Wars epic was trailed by three new films.

In second place was the Dwayne Johnson family adventure “Jumanji: Welcome to the Jungle” which made $55.4 million for Sony over the same four-day period.

“Pitch Perfect 3,” which follows the continuing adventures of glee singers the Bellas, led by Anna Kendrick, was in third, earning $26.5 million for Universal.

That was followed by “The Greatest Showman,” a musical in which Hugh Jackman plays the legendary circus impresario PT Barnum. That earned $14 million.

Animated feature “Ferdinand,” the story of a pacifist bull forced to face down the greatest bullfighter in the world, was fifth. It netted four-day receipts of $9.6 million in the United States and Canada in its second week.

Rounding out the top ten were:

“Coco” ($8.1 million)

“Downsizing” ($7.6 million)

“Darkest Hour” ($5.5 million)

“Father Figures” ($5.4 million)

“The Shape of Water” ($4.3 million)

I’ve always been fond of Phra Nakhon Si Ayutthaya, the former capital of Siam, but I had never fully appreciated its charms until earlier this month when an invitation from cable and satellite TV provider True Corporation to view the filming locations of its new series, “Sri Ayodhaya” coincided with the chance to attend the “Yor Yos Ying Fah: Ayutthaya World Heritage Fair 2017”.

The fair, which includes a magnificent nightly light & sound show at Wat Maha That in honour of five kings of the Ayutthaya Kingdom and a retro market in Phra Nakhon Si Ayutthaya Historical Park, doesn’t wrap until tomorrow night so there’s still time to make the easy journey from Bangkok and drink in the atmosphere of Old Siam. This year, the fair is even more special because it also celebrates the 16th anniversary of Unesco’s declaration of the park as a World Heritage Site.

The series, directed by ML Pundhevanop “Mom Noi” Dhewakul, has been largely filmed at three main locations in the town, namely Wat Phra Khao, Sala Ayutthaya Hotel, and Chantharakasem National Museum. Other locations for the lavish production include Mueang Boran in Samut Prakan, King Naresuan Movie Studio at Surasi Military Camp in Kanchanaburi, and the Victory Gate in Nakhon Pathom.

Set during the reign of King Phrachaoyuhua Borommakot in the second quarter of the eighteenth century when art, literature, and learning flourished, it takes viewers through the fall of Ayutthaya nine years after his death to the liberation of Siam from Burmese occupation during the reign of Taksin the Great, who established the city of Thonburi as the new capital in 1767. The aim of the series, True says, is to instil a passion and love among Thais for their country and appreciation for their ancestors who sacrificed their lives to protect this country.

The story is told through the attitudes of four present day characters, among them Ananda Everingham who portrays a lecturer in archaeology Dr Pimarn Katiyamongkol and his former incarnation Phra Pimarn Sathan Mongkol. Jiravich Pongpaijit doubles as singer Wayu Kriengkrairit and Chao Fah Suthat Khattiyarajakumarn; Rudklao Amratisha is history lecturer Asst Prof ML Puangkaew Uthaiwong and Krom Muen Pimolsak, and Arnuttaphol Sirichomsaeng plays archaeologist Dr Arkom Pongayuth and Luang Krai Chanrit.

“It is the biggest project we have done to date in terms of production and cinematography and it brings together a leading director and well-known performers. A lot of work has gone into each of the 20 episodes,” Birathon Kasemsri na Ayudhaya, executive assistant to the chief executive and chief content & media officer of True Corporation.

“The investment has also been considerable given the production’s size and standard, which is on par with any European or American historical series. Our aim is to show it to a wider market and we are planning to sell our series to several countries, not only in Asia.”

This mega project was in fact launched two years ago as an intended tribute to His Majesty the late King Bhumibol Adulyadej on his 90th birthday. But following the King’s death in October 2016, it was remodelled as a commemoration of the late monarch and to honour his successor, His Majesty Maha Vajiralongkorn Bodindradebayavarangkun, King Rama X.

“We have so much video footage of this series that we are able to to edit several versions, such as the director’s cut, which will bring the viewers the behind-the-scene stories of the series. It now runs for 90 minutes but the director’s cut would extend it to two hours. We would make an international version with a one-hour format. The American version would be different from the version destined for Europe because of the differences in taste and culture. In addition to an English-language version, we are planning to sell the series dubbed in Chinese, Korean and Japanese. Some themes would be created to match foreigners’ tastes, such as crossovers from another dimensions,” Birathon adds.

True Corporation is also marketing the series through eight premium royal blend coffees each based on eight of the characters in the series.

“The Noble” representing Phra Pimarn Sathan Mongkol is mixed with cinnamon stick and honey, “The Prince” (Chao Fah Suthat Khattiyarajakumarn) is made with milky coconut and bee pollen, while “The Knight” (Luang Krai Chanrit) boasts aloe vera and lemon honey, and “The King” (Phra Chao Ekathat, played by Nopachai Chaiyanam) has bael fruit.

Also on offer are “The Empress” (Phra Pan Wassa Noi, portrayed by Sinjai Plengpanich), which is blended with jasmine, “The Queen” (Krom Muen Pimolsak) with chrysanthemum, “The Princess” (Somdej Chao Fah Rujja Thewi played by Pimdao Panichsamai) with rose petals, and “The Angel” (Busababan, played by Khemanit Jamikorn) with lotus and fragrant candle.

“This premium royal blend coffee is centred on the leading characters of ‘Sri Ayodhaya’. We have blended beans from Brazil and Ethiopia with locally grown coffee and added other ingredients that we feel best relate to the personalities of the characters. Phra Pimarn is proficient at war and singing sepha so his coffee drink is mixed with honey to depict his smooth vocals and a cinnamon stick that represents a sword. Chao Fah Suthat is an innocent and that is portrayed through milky coconut and bee pollen, while Busababan, who works hard to maintain Thai tradition, has a coffee mixed with lotus and fragrant candle,” explains Nathathai Chumkuntod, chief operating officer of Class Coffee.

Tune in and enjoy

– “Ayodhaya a Film Series” airs on True 4U Channel 24 every Monday and Tuesday from 8pm to 9.30pm as well as True Asian Series HD, True Thai Film, True Film Asia, TNN2 HD, SD Channel 75, and True Plook Panya.

An online petition demanding the dumping of his cameo in 2018 heist movie “Ocean’s 8” has nearly reached its goal of 17,000 signatures — signed by more than 16,620 supporters by late afternoon New York time Thursday.

Critics say his inclusion would be particularly galling given its status as an all female reboot of the popular franchise, starring Cate Blanchett, Sandra Bullock, Anne Hathaway and Helena Bonham Carter.

The petition calls on “Oceans 8” producers George Clooney and Steven Soderbergh, “to toss Damon’s Oceans 8 cameo where it belongs: on the cutting room floor.”

It alleges that he “enabled” Harvey Weinstein’s conduct by trying to squash a New York Times report in 2004 that detailed instances where the now fallen Hollywood mogul exploited his status as a studio executive to harass and assault women.

Damon denied trying to bury the story and claimed he had no idea of the allegations against Weinstein, who helped catapult him into an international household name.

The actor also came under fire last week, for telling ABC News that there was a “spectrum of behavior” and a “difference between, you know, patting someone on the butt and rape or child molestation, right?”

His long-time friend, Ben Affleck, with whom he shared an Oscar for best screenplay over 1997 movie “Good Will Hunting” and Affleck’s actor brother Casey, have also been accused publicly in recent months of sexual misconduct.

“This behavior is beyond enabling — it’s just gross. Matt Damon should not be in this movie,” said the petition.

“Damon’s inclusion would trivialize the serious nature of the charges against sexual abusers like Weinstein,” and “show massive disrespect” to women speaking out, it said.

Harvard-educated Damon, 47, is the father of four daughters, including a child from a previous relationship of his wife.

“Ocean’s 8” is scheduled for release in June 2018 and tells of an attempted heist at New York’s annual Met Gala, one of the hottest tickets in the celebrity universe.

The film directed by Rian Johnson — which features the late Carrie Fisher’s final performance as Princess Leia — took in $220 million in North America, and another $230.8 million overseas, a Disney spokesman said.

It was the fifth biggest global box office debut in history, the company said.

It was also the second biggest opening in US history and in December — only behind “Star Wars: The Force Awakens” — the opener of the saga’s sequel trilogy that took $248 million on its debut weekend.

“The Last Jedi” sees the return of the characters introduced in “The Force Awakens” — with Rey (Daisy Ridley) looking to Luke Skywalker (Mark Hamill) to teach her about The Force.

One of the film’s key draws for fans is to find out the fate of Leia. Fisher died in December 2016 at the age of 60, shortly after wrapping up filming her scenes.

In November, Disney — which acquired Lucasfilm five years ago — announced plans for a new “Star Wars” trilogy, the fourth, as well as a live-action television series.

“We have big ambitions for the Star Wars franchise,” Disney chief executive Robert Iger said at the time.

Johnson, who directed “The Last Jedi,” will develop the new films.

“Star Wars” — the brain child of George Lucas — has grown into the most lucrative and influential movie franchise of all time since the original film was released in 1977.

– Animated films take second, third place –

In second place at the North American box office was “Ferdinand,” a computer-animated comedy about a bull with a big heart often mistaken for a dangerous beast, which took $13.4 million on what was also its debut weekend, according to final industry figures.

Last weekend’s number one “Coco,” a colorful Pixar movie about Mexico’s Day of the Dead traditions, dropped down to third place with $9.9 million, according to Exhibitor Relations.

It has now earned $150.7 million in North America since its release four weeks ago.

Feel-good film “Wonder” starring Julia Roberts, Owen Wilson and Jacob Tremblay — the story of a determined fifth-grade boy with a facial deformity who must deal with bullying — slid to fourth place, taking in $5.2 million.

Warner Bros. superhero film “Justice League” — featuring Gal Gadot as Wonder Woman, Ben Affleck as Batman, Henry Cavill as Superman and Jason Momoa as Aquaman, plus Ciaran Hinds as a supervillain — fell to fifth with $4.3 million.

Rounding out the top ten were:

“Daddy’s Home 2” ($3.8 million)

“Thor: Ragnarok” ($3.1 million)

“The Disaster Artist” ($2.7 million)

“Murder On The Orient Express” ($2.5 million)

“Lady Bird” ($2.1 million)

Mark Hamill returns to his famous role Luke Skywalker and chatted with journalists about the new film.

Excerpts:

Where do we find Luke at the start of the film?

It’s a direct continuation of The Force Awakens, so the final moment is the first time you see him in The Last Jedi. It’s very ambiguous. Rey offers him the lightsabre, and he just stares at her, interminably.

What is Luke’s relationship to Rey?

It seems to be an obsession for people to want to know what the relationships are and that’s understandable. So much of the previous stories have to do with lineage: who’s your father, who’s your surprise sister, who’s your mother. In this, it’s broken down a little bit.

What do they think of each other and learn from one another?

Rey has based her assessment of Luke on this great mythology that’s been built up. At some point, people doubt he’s a real person. Because of the gravity of the situation, the urgency of the situation, she doesn’t have the luxury of getting to know him and relax and exchange ideas. She needs him and wants to enlist his help and abilities towards her cause. And, that’s the conflict. Luke’s in a much different place than we’ve ever seen him in before.

He’s disillusioned. He’s turned off the Force and renounced the idea of the Jedi order. It was unexpected for me as an actor. My character always represented hope and optimism. And now, here I am pessimistic, disillusioned and demoralised.

What was it like to walk back into the Millennium Falcon?

It was bittersweet. Everywhere you looked, these memories come flooding back. It’s like going to your old high school or the house you lived in sixth grade. The detail’s absolutely perfect. It’s just as I remember it. I climbed up and down the ladder, got in the hold where we stowed away and sat in the cockpit with my grown children and wife. Later I slipped away and got really choked up. This is a moment, and it’ll be gone.

Talk about the director, Rian Johnson

Every so often you meet someone like Rian who has such a passion for film and television and pop culture, and is so gifted a filmmaker. And he’s one of the nicest people I’ve ever met. He’d be a friend of mine even if we didn’t work together. I had this instant connection with him. He came over to my house to get to know me, and we hung out and talked about this and that and the other, and the movie to a certain extent. I invited him into my den where all the toys are, and he saw my DVDs, model kits, puppets and Beatles memorabilia. He was looking at my DVDs, so I said asked him if he had ever seen “Sergeant Bilko” and if he wanted to watch it. It’s one of my favourite pieces of film comedy. I wouldn’t ask just anyone into my den to watch “Sergeant Bilko,” but Rian has a golden ticket in my book.

What was it like to work with him on set?

I trust him. There’s no one more deserving of trust than Rian Johnson. Rian in so many words said stop acting and just be. If you look at his movies, each is different than the last. You can’t pigeonhole him and say, that’s the kind of film he makes. That’s what will happen with The Last Jedi. It’s so different in many ways, subtle ways, than the other Episodes, and yet it is satisfying in delivering what the fans want to see as well.

Do you have a favourite Star Wars memory?

There are so many that I can’t single one out. I really looked forward so much to doing the Cantina sequence. It’s an experience I’d never forget. The Cantina sequence, swinging across with the Princess. We were in harnesses and flown by the people who developed that system to fly Peter Pan. In the old days you could just swing back and forth. In 1953 for the Broadway production of “Peter Pan,” the Jerome Robins one with Mary Martin, they developed a system where you could go back and forth, but also another way. It takes two operators, which is a great skill because you have to be in complete sync. So, we’re both in harnesses; they hooked us together, and we did the swing across. So much fun. I was ready to do it again, but they had four cameras and got it in one take. Everything else takes five, six, seven takes. I was so disappointed. Someone said, “You really want to fly? Unhook him from Carrie.” They flew me all around the set. It’s the closest to playing Peter Pan I’ll ever get. Of course George Lucas was appalled because I’m a commodity. I smack into the wall like Wiley E. Coyote and slide down. He said, “No, no, get him down.” It’s those kinds of moments.

It’s just one after another. I loved all this adventure as a child anyway and to have this amalgamation of all these films—westerns, WWII movies, cowboys, pirate movies—all mushed together in this new way day after day was wonderful. I couldn’t believe I got to do it. Is there one moment? No. There are a million moments.