O.K. maybe not that one. But even though the Mouse has swallowed the Fox, Paramount, Universal, Warner Bros. and Sony are still around. But sprinkled through the Top 20 are other titles that tell a slightly different, less branded story. Jordan Peele’s “Us.” Quentin Tarantino’s “Once Upon a Time … in Hollywood.” Dexter Fletcher’s “Rocketman.”

Add their receipts together and you still don’t get halfway to “Avengers: Endgame,” but there’s reason for a measure of optimism. As the fall progresses, we can keep our fingers crossed for movies like “A Beautiful Day in the Neighborhood,” “1917,” “Motherless Brooklyn” and — why not? — “Cats.” Maybe this means that the studios, which have mostly shuttered their art-house divisions, are becoming more like the indie distributors of the past, staying in the game for awards, critical acclaim and a less passive audience. That doesn’t seem so bad. A.O. SCOTT

Bad: Netflix is keeping us on the sofa

In 2017, the Netflix chief executive Reed Hastings identified the company’s biggest competitor as “sleep.” That much-quoted bit of executive bravado expresses an exemplary big-tech ambition. Amazon wants all your shopping. Google aspires to own your searches and calendars. Facebook seeks to dominate your news consumption and your social life. And Netflix, not to be outdone, is angling for a monopoly on your waking consciousness.

If the Disney monopoly model is founded on a fantasy of consensus — everyone in the world will go see the new presold installment as soon as it opens in theaters — the Netflix version rests on a dream of infinite diversification. Each of us sits home alone in front of a screen that asks us “who’s watching?” and supplies a stream tailored to our particular tastes and mood.

This is not entirely dystopian. Or rather, it’s dystopian precisely because it’s so attractive. Netflix and its nonsleep competitors are far more inclusive than most of the networks and movie studios, both in demography and sensibility. Filmmakers have found a home — and financing — for projects that might have languished elsewhere. A year after “Roma” lit up the festivals, beguiled the critics and snagged 10 Oscar nominations, Netflix has lined up a roster that includes Martin Scorsese’s “The Irishman” and Noah Baumbach’s “Marriage Story” — titles that will show up on theater marquees as well as in flat-screen queues.