In the era of Netflix and iTunes and Amazon Video, something profound has changed with moviegoing. It’s not so much the movies; it’s the going. Most North Americans see somewhere between five and six movies in theaters each year—far fewer than previous generations, for whom moviegoing was a weekly habit.

In 2016, audiences who did venture outside their homes predominantly bought tickets to spectacles featuring familiar characters, like Captain America: Civil War ,Finding Dory, and The Jungle Book. That’s great news if you’re studio chief Alan Horn, executor of Disney’s deceptively simple strategy: make movies that inspire people to lift their butts off the couch and go somewhere. It’s bad news if you’re, say, a director of romantic comedies, a producer of adult dramas, or a studio executive without a portfolio full of known brands.

“Everybody’s going to see the same movies,” said Doug Creutz, senior media, entertainment, and gaming analyst at Cowen and Company. “And they’re mostly Disney’s.”

That’s how you end up with this head-scratcher: 2016 will be a record year at the domestic box office, with studios notching $11.3 billion in grosses, according to projections released by comScore on Monday. But overall, profits will be down about 15 percent, according to Creutz—and Disney will account for more than half of them.

“You have a structural problem in the movie industry right now,” Creutz said. “Too many expensive movies and not enough people to see them.”

Consider this past long weekend at the box office, a crowded, year-end bacchanal of well reviewed, star-filled new releases like Patriots Day, Hidden Figures, and Silence, all competing for adults’ attention. There was also Universal’s animated musical Sing, Sony’s sci-fi adventure Passengers, Fox’s R-rated comedy Why Him, and its video-game adaptation Assassin’s Creed. Meanwhile, awards contenders Fences, La La Land, and Jackie expanded their theater counts to wider swaths of the country. Ben Affleck had a new gangster movie, Live by Night, Pedro Almodóvar had Julieta, a new romantic drama, and J.A. Bayona had a young-adult fantasy hitting theaters in A Monster Calls. If you couldn’t find something to see at the movies this weekend, you don’t like movies.

But for the second week in a row—and likely for the next few—it was Disney’s Star Wars anthology film, Rogue One, that sold the majority of tickets, bringing its domestic total to $318.1 million in just 11 days of release.

Certainly many people will see and enjoy those other movies. For lots of audiences, Hidden Figures, the moving, true story of a group of black women who crunched numbers for NASA in the 1960s, may be the best superhero movie of the year. For others, Martin Scorsese’s Silence, a lushly photographed, Japan-set exploration of the Catholic faith, will awaken a spirituality akin to the Force. It’s just that most of these audiences will experience these movies on smaller screens, at lower profit margins for their studios.

In 2016, what Disney did better than the competition was to make its films seem like unmissable events, spectacles worth the price of premium IMAX or 3-D tickets.

“We’ve done a good job of creating what the kids would call FOMO [fear of missing out],” said Dave Hollis, Disney’s executive vice president of theatrical exhibition, sales, and distribution. “With our movies, there’s some social currency in being part of the phenomenon.”