Producers admitted Tuesday that Matt Smith, Prince Philip on the hit Netflix drama, negotiated a better deal than Claire Foy because of his perceived higher profile.

They did not reveal either salary — Foy’s was put at $40,000 an episode by Variety last year — but told a panel event in Jerusalem that Smith’s 2010-2013 starring role on the BBC’s “Doctor Who” had been the decisive factor.

The explanation has not appeased critics who argued that the discrepancy should only have shown up in the first season, before Foy was garlanded with awards and acclaim.

Foy, 33, was already making a name for herself in British costume drama, with roles in “Upstairs Downstairs” and “Wolf Hall,” when she was tapped to play the queen.

The part has earned her a host of award season nominations, including at the BAFTAs, Golden Globes, Emmys and Screen Actors Guild awards. She has won two SAGs and a Globe.

Suzanne Mackie, one of the show’s producers, told the Jerusalem audience the discrepancy was being resolved for the third season but that will not benefit Foy.

“The Crown,” which costs $7 million an episode to produce, is replacing its leads for the start of filming in July, with Olivia Colman stepping in as the queen and an actor to replace Smith not yet announced.

Helena Bonham-Carter will replace Vanessa Kirby as Elizabeth’s sister, the late Princess Margaret.

The series comes from the pen of Peter Morgan, who first lifted the veil on the private world of Elizabeth II in “The Queen” (2006), which was directed by Stephen Frears and earned Helen Mirren an Oscar in the title role.

The Marvel superhero movie took $40.8 million, industry monitor Exhibitor Relations reported, bumping it up to a domestic total of $561.7 million in its four-week run, making it the seventh-biggest domestic release ever.

The film’s opening in China — the world’s second biggest market behind the US — pushed its global total past the $1 billion mark that only 32 other movies have reached.

“Black Panther,” starring Chadwick Boseman as the titular king of the African utopia Wakanda, is the first movie since “Star Wars: The Force Awakens” to top the domestic box offices for four consecutive weekends.

“A Wrinkle in Time,” a fantasy adventure that celebrates inclusion and accepting personal flaws, took in $33.1 million in its opening weekend — a letdown for a big-budget Disney film.

The story about a search through time and space for a missing father starring Storm Reid, Oprah Winfrey, Reese Witherspoon and Chris Pine has garnered mixed reviews.

Director Ava DuVernay became the first black woman to helm a movie with a budget in excess of $100 million.

In third place was new horror sequel “The Strangers: Prey at Night,” from Aviron studios, which took in $10.4 million.

The poorly reviewed movie — Variety says it serves up “the same old meat-puppet gore and cattle-prod scares” — stars Christina Hendricks and Martin Henderson as a couple whose family is attacked by three masked men.

Next was Fox espionage thriller “Red Sparrow,” with Jennifer Lawrence as a Russian ballerina-turned-elite spy.

The movie, which took $8.5 million in its second week, co-stars Matthias Schoenaerts, Jeremy Irons and Charlotte Rampling.

In fifth spot was Warner Bros. comedy thriller “Game Night” with $7.9 million. The movie, starring Jason Bateman and Rachel McAdams, tells the story of six friends who get together around beers and stumble into a dangerous reality game.

Rounding out the top 10 were:

“Peter Rabbit” ($6.8 million)

“Death Wish” ($6.6 million)

“Annihilation” ($3.3 million)

“The Hurricane Heist” ($3 million)

“Jumanji: Welcome to the Jungle” ($2.7 million)

Barrymore and Olyphant are flying in from Manila for a pre-screening of the popular series next Tuesday (March 13) at Paragon Cineplex.

That will be followed by the “Santa Clarita Diet 2” press conference on March 14 where members of the press in the Asia Pacific can find out all they want to know about the new season.

“Santa Clarita Diet” focuses on Joel (Olyphant) and Sheila (Barrymore), husband-and wife-realtors leading vaguely discontented lives in the Los Angeles suburb of Santa Clarita with their teenage daughter Abby (Liv Hewson) when Sheila goes through a dramatic change and develops a liking for human flesh.

Santa Clarita Diet season 1 is now streaming on Netflix.

The eight-episode detective series can be streamed on HBO and HBO Go, AIS Play and AIS Playbox at 9am and 9pm that day, and new episodes will appear every Friday.

In a bold interpretation of Sir Arthur Conan Doyle’s Sherlock Holmes, women take the central roles of Holmes and his crime-solving partner Dr John Watson. Yuko Takeuchi appears as Sherlock and Shihori Kanjiya as Dr Wato Tachibana.

Dr Tachibana is a surgeon recently returned from a voluntary medical mission to Syria. Holmes is portrayed more traditionally – the police regularly tap him for help when they’re struggling with a difficult case.

Throughout the series, the pair solves mystery after mystery, mainly thanks to Miss Sherlock’s extraordinary powers of observation and reasoning.

Kenichi Takit is another cast regular, playing crafty police inspector Reimon, seeking to leverage Holmes’ talents to advance his own career. Tomoya Nakamura plays Sergeant Shibata, a conservative male chauvinist.

Yukiyoshi is Kento Futaba, Sherlock’s older brother. Ryohei Otani is Dr Tachibana’s potential love interest. And Ran Ito plays Sherlock’s widowed landlord, Kimie Hatano.

The female version of Sherlock was indeed born in England, but chose to move to Japan after losing both parents in a plane accident that left her emotionally detached to everything and everyone around her.

Tachibana’s parents are both doctors, but they were appalled when she decided to join the mission to Syria. Her life changes when she meets Holmes at a crime scene on her return home.

 “The Shape of Water” on Sunday won top honours at the Oscars including the coveted best picture statuette, bringing the curtain down on a Hollywood awards season overshadowed by scandal over sexual misconduct in showbiz.

Guillermo del Toro’s fairy tale romance led the charge going into the show with 13 nominations, and took home best picture – the top prize of the night – as well as best director and statuettes for production design and best original score.

In an night of honours being shared fairly evenly among several candidates, Martin McDonagh’s dark crime comedy “Three Billboards Outside Ebbing, Missouri” had to settle for best actress for Frances McDormand and best supporting actor for Sam Rockwell.

Christopher Nolan’s World War II thriller “Dunkirk” also picked up three awards, but in the less glitzy technical categories, while several movies ended the evening with two trophies.

“I am an immigrant,” an emotional Del Toro said in collecting his first prize of the night, praising the power of filmmaking to “erase the line in the sand” between people of different countries and cultures.

“I want to dedicate this to every young filmmaker – the youth that is showing us how things are done. Really, they are, in every country in the world,” he said,

“I thought this could never happen. It happens. And I want to tell you, everyone that is dreaming of using fantasy to tell the stories about the things that are real in the world today – you can do it.”

Hosted for the second straight year by late night funnyman Jimmy Kimmel, the 90th Academy Awards capped a difficult few months during which the industry has declared war on the pervasive culture of sexual impropriety unearthed by the downfall of movie mogul and alleged serial sex attacker Harvey Weinstein.

Kimmel set the tone by targeting Weinstein in his opening monologue, describing the disgraced producer’s downfall following dozens of allegations of sexual harassment and assault as “long overdue”.

“We can’t let bad behaviour slide anymore. The world is watching us. We need to set an example,” he said.

McDormand, a winner throughout the awards season for her scintillating turn as a grieving, rage-filled mother in “Three Billboards”, took home her second Oscar, 21 years after winning for “Fargo”.

In a statement about the need for inclusion in the industry, she got all of the female nominees in the room to stand to highlight their work.

“We all have stories to tell and projects we need financed,” she said to enthusiastic applause.

Her “Three Billboards” co-star Rockwell kicked off the night by claiming best supporting actor for his acclaimed turn as a racist, violent police officer.

Best actor went to runaway favourite Gary Oldman, who sat in make-up for three hours a day to disappear entirely into the role of British wartime prime minister Winston Churchill for “Darkest Hour”.

Allison Janney won best supporting actress for her turn as the cold, sardonic mother of disgraced figure skater Tonya Harding in “I, Tonya” – capping a sparkling awards season which saw her sweep the major prizes.

“My fellow nominees, you represent everything that is good and right and human about this profession. You are all extraordinary,” the statuesque 58-year-old Janney, the overwhelming favourite, enthused at the podium.

With the #MeToo and Time’s Up campaigns against sexual misconduct and gender inequality dominating the 2018 awards circuit, this year’s Oscars gala was seen as an opportunity for Tinseltown to support female filmmaking.

Greta Gerwig, only the fifth woman in Oscars history to be nominated for best director – for comedy/drama “Lady Bird” – however went home empty-handed, despite other nominations for best picture and best screenplay.

There was also the first nod in history for a female cinematographer – Rachel Morrison, who shot Dee Rees’ racial drama “Mudbound” – although the award ended up going to Roger Deakins on his 14th attempt, for “Blade Runner 2049”.

The Time’s Up initiative was not as visible as at the Golden Globes in January, with no coordinated protest – like the striking Globes red carpet “blackout”.

But towards the end of the show, Salma Hayek fronted the presentation of a video of stars advocating for women’s rights and racial equality, including Ava DuVernay, Chadwick Boseman, Lee Daniels and Geena Davis.

“This entire autumn, through the #MeToo, the Time’s Up movements, everyone is getting a voice to express something that has been happening forever, not only in Hollywood, but in every walk of life,” said Mira Sorvino.

In another nod to the women’s movements, the Academy of Motion Picture Arts and Sciences tapped past winners Jennifer Lawrence and Jodie Foster – on crutches – to present McDor- mand’s best actress Oscar.

Traditionally, the previous year’s best actor winner would present that statuette, but Casey Affleck, who triumphed in 2017 for “Manchester by the Sea”, withdrew under a cloud of sexual harassment accusations he denies.

Other winners included Pixar’s “Coco” for best animated feature and “A Fantastic Woman” – a love story from Chilean director Sebastian Lelio with a much-praised star turn from transgender actress Daniela Vega – in the foreign film category.

And Jordan Peele won the award for best original screenplay for his highly acclaimed debut film, horror satire “Get Out”.

Organisers were looking to rebound after last year’s flubbed announcement by Warren Beatty and Faye Dunaway of the best picture winner – the trophy was initially given to “La La Land”, when the actual winner was “Moonlight”.

In a surprise turn of events, Beatty and Dunaway were tapped to present the same prize this time around, and the presentation went without a hitch.

“It’s so nice seeing you again,” joked Beatty, to laughs from the audience.

Here are the winners in key categories for the 90th Academy Awards, which were handed out in Hollywood on Monday morning (Bangkok time).

Best picture: “The Shape of Water”

Best director: Guillermo del Toro, “The Shape of Water”

Best actor: Gary Oldman, “Darkest Hour”

Best actress: Frances McDormand, “Three Billboards Outside Ebbing, Missouri”

Best supporting actor: Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Best supporting actress: Allison Janney, “I, Tonya”

Best foreign language film: “A Fantastic Woman” (Chile)

Best animated feature: “Coco”

Best documentary feature: “Icarus”

Best original screenplay: “Get Out” – Jordan Peele

Best adapted screenplay: “Call Me By Your Name” – James Ivory

Best production design: “The Shape of Water”

Best original score: “The Shape of Water” – Alexandre Desplat

Best original song: “Remember Me” from “Coco”

Best film editing: “Dunkirk”

Best sound editing: “Dunkirk”

Best sound mixing: “Dunkirk”

Best cinematography: “Blade Runner 2049” – Roger Deakins

Best visual effects: “Blade Runner 2049”

Best makeup and hairstyling: “Darkest Hour”

Guillermo del Toro’s fairy tale romance led the charge going into the show with 13 nominations, and took home best picture — the top prize of the night — as well as best director and statuettes for production design and best original score.

In an night of honors being shared fairly evenly among several candidates, Martin McDonagh’s dark crime comedy “Three Billboards Outside Ebbing, Missouri” had to settle for best actress for Frances McDormand and best supporting actor for Sam Rockwell.

Christopher Nolan’s World War II thriller “Dunkirk” also picked up three awards, but in the less glitzy technical categories, while several movies ended the evening with two trophies.

“I am an immigrant,” an emotional Del Toro said in collecting his first prize of the night, praising the power of filmmaking to “erase the line in the sand” between people of different countries and cultures.

“I want to dedicate this to every young filmmaker — the youth that is showing us how things are done. Really, they are, in every country in the world,” said

“I thought this could never happen. It happens. And I want to tell you, everyone that is dreaming of using fantasy to tell the stories about the things that are real in the world today — you can do it.”

– ‘Long overdue’ –

Hosted for the second straight year by late night funnyman Jimmy Kimmel, the 90th Academy Awards capped a difficult few months during which the industry has declared war on the pervasive culture of sexual impropriety unearthed by the downfall of movie mogul and alleged serial sex attacker Harvey Weinstein.

Kimmel set the tone by targeting Weinstein in his opening monologue, describing the disgraced producer’s downfall following dozens of allegations of sexual harassment and assault as “long overdue.”

“We can’t let bad behavior slide anymore. The world is watching us. We need to set an example,” he said.

McDormand, a winner throughout the awards season for her scintillating turn as a grieving, rage-filled mother in “Three Billboards,” took home her second Oscar, 21 years after winning for “Fargo.”

In a statement about the need for inclusion in the industry, she got all of the female nominees in the room to stand to highlight their work.

“We all have stories to tell and projects we need financed,” she said to enthusiastic applause.

Her “Three Billboards” co-star Rockwell kicked off the night by claiming best supporting actor for his acclaimed turn as a racist, violent police officer.

Best actor went to runaway favorite Gary Oldman, who sat in make-up for three hours a day to disappear entirely into the role of British wartime prime minister Winston Churchill for “Darkest Hour.”

Allison Janney won best supporting actress for her turn as the cold, sardonic mother of disgraced figure skater Tonya Harding in “I, Tonya” — capping a sparkling awards season which saw her sweep the major prizes.

“My fellow nominees, you represent everything that is good and right and human about this profession. You are all extraordinary,” the statuesque 58-year-old Janney, the overwhelming favorite, enthused at the podium.

Activism

With the #MeToo and Time’s Up campaigns against sexual misconduct and gender inequality dominating the 2018 awards circuit, this year’s Oscars gala was seen as an opportunity for Tinseltown to support female filmmaking.

Greta Gerwig, only the fifth woman in Oscars history to be nominated for best director — for comedy/drama “Lady Bird” — however went home empty-handed, despite other nominations for best picture and best screenplay.

There was also the first nod in history for a female cinematographer — Rachel Morrison, who shot Dee Rees’s racial drama “Mudbound” — although the award ended up going to Roger Deakins on his 14th attempt, for “Blade Runner 2049.”

The Time’s Up initiative was not as visible as at the Golden Globes in January, with no coordinated protest — like the striking Globes red carpet “blackout.”

But towards the end of the show, Salma Hayek fronted the presentation of a video of stars advocating for women’s rights and racial equality, including Ava DuVernay, Chadwick Boseman, Lee Daniels and Geena Davis.

“This entire fall, (through) the #MeToo, the Time’s Up movements, everyone is getting a voice to express something that has been happening forever, not only in Hollywood, but in every walk of life,” said Mira Sorvino (“Mighty Aphrodite”).

In another nod to the women’s movements, the Academy of Motion Picture Arts and Sciences tapped past winners Jennifer Lawrence and Jodie Foster — on crutches — to present McDormand’s best actress Oscar.

Traditionally, the previous year’s best actor winner would present that statuette, but Casey Affleck, who triumphed in 2017 for “Manchester by the Sea,” withdrew under a cloud of sexual harassment accusations he denies.

– Presenters atone for 2017 flub –

Other winners included Pixar’s “Coco” for best animated feature and “A Fantastic Woman” — a love story from Chilean director Sebastian Lelio with a much-praised star turn from transgender actress Daniela Vega — in the foreign film category.

And Jordan Peele won the award for best original screenplay for his highly acclaimed debut film, horror satire “Get Out.”

Organizers were looking to rebound after last year’s flubbed announcement by Warren Beatty and Faye Dunaway of the best picture winner — the trophy was initially given to “La La Land,” when the actual winner was “Moonlight.”

In a surprise turn of events, Beatty and Dunaway were tapped to present the same prize this time around, and the presentation went without a hitch.

“It’s so nice seeing you again,” joked Beatty, to laughs from the audience.

“The Shape of Water” was the big winner of the night with four statuettes, including best picture and best director.

Best picture: “The Shape of Water”

Best director: Guillermo del Toro, “The Shape of Water”

Best actor: Gary Oldman, “Darkest Hour”

Best actress: Frances McDormand, “Three Billboards Outside Ebbing, Missouri”

Best supporting actor: Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Best supporting actress: Allison Janney, “I, Tonya”

Best foreign language film: “A Fantastic Woman” (Chile)

Best animated feature: “Coco”

Best documentary feature: “Icarus”

Best original screenplay: “Get Out” – Jordan Peele

Best adapted screenplay: “Call Me By Your Name” – James Ivory

Best production design: “The Shape of Water”

Best original score: “The Shape of Water” – Alexandre Desplat

Best original song: “Remember Me” from “Coco”

Best film editing: “Dunkirk”

Best sound editing: “Dunkirk”

Best sound mixing: “Dunkirk”

Best cinematography: “Blade Runner 2049” – Roger Deakins

Best visual effects: “Blade Runner 2049”

Best make-up and hairstyling: “Darkest Hour”

Films with more than two wins:

“The Shape of Water” – 4

“Dunkirk” – 3

“Three Billboards Outside Ebbing, Missouri” – 2

“Darkest Hour” – 2

“Coco” – 2

“Blade Runner 2049” – 2

The film focuses on successful novelist Delphine (Emmanuelle Seigner who soon starts receiving anonymous letters accusing her of exposing her family to the public. Suffering from depression and writer’s block, Delphine meets and begins a romance with a mysterious younger woman (Eva Green) who understands Delphine better than anyone else.

Eva Green talks about her role in the film, sexual harassment and the director Polanski.

“Based on a true story” , by Roman Polanski, is your first French film since 2004. You are perceived as a French actress who works in Hollywood

That’s an illusion. By the way, most of the American films I have played in were shot in London, where I live. There has never been anything deliberate.

So you are not disenchanted with French cinema?

No, even if French cinema may have thought I snubbed it. I say to myself, in retrospect, that if I did make known my desire to shoot in France earlier, it was to mark a distance with my mother (actress Marlene Jobert).

What made you decide to do this movie?

Polanski sends you a screenplay, which is written by Olivier Assayas … how not to read it? But it was also the rare opportunity of a film built on a relationship between two women, with a fuzzy character, ghostly … You never know if this girl exists, even I don’t know – she may not be a projection. I had to be all that Delphine (Seigner) is missing. I worked a very particular diction, I speak a little like a book, like an inner voice.

You joined a filmmaker and his wife on the set. How did you find a place in this equation?

At first I worried there would be creates favouritism or tension but it was the opposite. Polanski treats everyone the same way, from the technicians to the star.

The film is based on Emmanuelle Seigner and you. Did you know each other?

Absolutely not. First day, first scene, Roman asks me to push her to the end, to dominate her. And then, we make the film in two, mirroring, wedging one on the other, in a fusional way.

Your mother spoke about the Weinstein affair, revealing that he had harassed you …

I did not know that my mother intended to speak. (Silence.) It’s very difficult to talk about that. It is positive that women have finally managed to make themselves heard on this subject. On Harvey Weinstein, it’s a little late. But the subject is larger, and if women are heard in all the professional circles, maybe we can put an end to harassment. As far as I’m concerned, I’m not going into details, not here, not now.

Did you expect this total fall from grace?

Everyone knew it in the trade. And I’m glad it happens. It is an abuse of power. He is a sick person.

Roman Polanski himself is accused of rape, dating back to the 1970s. Does that complicate your position?

No. Because he has always been very correct with me. That’s why I can face the promotion for this film. I did not forbid any questions . I do not try to defend him, I just know he has always behaved with me with great kindness.

From classic white to fire engine red, with shades of teal, fuchsia, powder blue and lavender mixed in, here are some highlights of the style parade on Tinseltown’s biggest night:

White-hot

White is associated with the suffragette movement, and on Sunday, many of Hollywood’s top stars embraced it.

“Get Out” star Allison Williams was one of the first stars on the red carpet and her look was killer — a cream beaded Armani princess gown with sheer cap sleeves that earned raves in the Twitterverse.

Jane Fonda also embraced the ice princess look, looking fabulous at age 80 — !! — in a sculpted white Balmain gown with a geometric neckline.

Laura Dern — who joined the “Star Wars” family last year in “The Last Jedi” and will present an award on Sunday with her co-stars — wowed red carpet watchers in a Calvin Klein gown with a large tie draped over one shoulder.

And Mary J. Blige — the first person to be nominated for acting and song writing for the same film, “Mudbound” — wore a white gown with a glittering bodice and an asymmetrical neckline. She will perform during the gala.

Ladies in Red

Allison Janney — seen as the favorite to take home the Oscar for best supporting actress for her searing portrayal of figure skater Tonya Harding’s mom LaVona in the biopic “I, Tonya” — looked ready for her close-up.

The statuesque actress was red-hot in a show-stopping fire engine red Reem Acra gown with flowing sleeves, a plunging neckline — and plenty of diamonds to fill the gap.

“This is my first time at the Oscars,” she told E! television. “It’s pretty overwhelming.”

Three-time winner Meryl Streep also wore red — a simple gown with a deep-V neckline and three-quarter-length sleeves. She is again a nominee this year, for Pentagon Papers drama “The Post.”

US Olympic medalists kick back

Some of America’s top Olympians graced the red carpet, including bronze medalist figure skaters Mirai Nagasu — in an ethereal powder blue Tadashi Shoji gown — and Adam Rippon, sporting a curious black bondage-inspired harness jacket.

Skier Lindsey Vonn, who earned bronze in the downhill competition, bared some skin in a sheer black sequined lace gown with flapper fringe.

Classy with a twist

Hollywood’s men tried to look classic and make a statement at the same time.

Oscar nominee Jordan Peele — who wore a snappy red jacket to Saturday’s Spirit Awards, where he took home the top prize for horror satire “Get Out” — went for a white dinner jacket on Sunday.

The star of his film — Britain’s Daniel Kaluuya, also a nominee — wore a striking brown jacket with black lapels.

One of Kaluuya’s competitors, Timothee Chalamet (“Call Me By Your Name”), went for an all-white suit and the best accessory — his mom.

And “Call Me” screenwriter James Ivory paid Chalamet the ultimate compliment — wearing a shirt with the actor’s face on it.