That seems like a stretch. Chains like AMC seem at least dimly aware of the changes underway in the theater industry and are trying to address them by making the (already costly) moviegoing experience more comfortable and fun. By inflating ticket prices based on demand, Regal is acting like it holds a monopoly on access to cinema. But unlike the airline industry, or a particularly popular Broadway show like Hamilton that can’t be seen anywhere else, Regal theaters aren’t that hard to avoid. There might be a couple of films a year (like a new Star Wars entry) that people will clamor to see. But other than that, surging ticket costs is a great way to compel customers to stay at home.

The average movie-ticket price in the U.S. is $8.95, according to the National Association of Theatre Owners. That’s a cost that theaters have found plenty of ways to bump even higher, for example via special presentations in 70-millimeter and IMAX fees. And, of course, so much of a theater’s profit comes from selling snacks and concessions. But after a dismal 2017 that has seen many major franchise entries under-perform at the box office, stock prices have dived (shares in Regal have fallen 21 percent this year).

Even worse, overall box-office revenues may actually decline this year, barring a spectacular November and December for the movie industry. While ticket sales have been falling for a long time, theater revenues have been up since 2014 because of various forms of upcharging. This year, they’re way down—12 percent for Regal specifically, which may have spurred the company’s plan of action. But there’s a reason that ticket pricing is standardized in the U.S. Exhibitors (theater companies) and distributors (movie studios) have a careful relationship that’s geared toward encouraging people to go to their local multiplexes rather than give their money to competitors like Netflix and Amazon. Regal’s approach could upset that.

Or it could just be an indicator of something that’s becoming increasingly apparent about the theater business—that the chain multiplex, which arose during the dawn of the blockbuster in the 1970s, has become an outdated model, one originally designed around accessibility and variety rather than providing genuinely pleasant accommodations. Now, at-home streaming services can’t be beat for ease or comfort, so the best thing theaters can offer now is a full-service cinematic experience like the Alamo does, not surge pricing.

But there’s little evidence that big chains themselves are willing to innovate. The recent incursion of MoviePass, a $10-a-month subscription service that lets people see a film a day for free, is a perfect example of forces outside the industry trying to fill the gap. MoviePass covers the cost of each ticket “bought” by its subscribers, so companies like AMC and Regal lose no money in the process. Its attractive price point has drawn in 600,000 subscribers, which could help boost theater attendance. Nonetheless, AMC has said it is looking at legal options to block MoviePass, calling it “shaky and unsustainable,” and Regal has announced a “wait and see” approach to the company.