Atmos is a system, not a codec.
Traditionally, you had a pre-mixed channel bed like 5.1 (AC-3, E-AC-3, MLP and AC-4), and 7.1 (supported by E-AC-3, MLP and AC-4). With the introduction of audio objects in 3D space, E-AC-3, MLP and AC-4 are extended - and that is what Atmos basically is.
The problem is how to manage loudness when you have a channel bed and/or objects. E-AC-3, for example, had a substream type originally reserved for future use - in this case, implementing Atmos. Since E-AC-3-based Atmos is backwards compatible with legacy E-AC-3 decoders, Dolby has had to do some tricks to the metadata to insert the objects and keep loudness managed. This can only be accomplished at the renderer, and it requires tight control of the metadata to manage loudness consistently.
When you get into third-party upmixers, they do all sorts of awful things (*cough*Neural*cough*). Two things they can do due to "artistic" interpretation are to improperly locate the audio in 3D space, and mix in the incorrect level the audio that goes into the speakers. Because of differences in perception in loudness depending on location around your head, and because you aren't mixing the right level of audio at/across a given speaker, the original renderer's interpretation of loudness metadata and location metadata is incorrect. This leads to potentially disturbing variations in loudness and confusion in location of content that is the fundamental basis for Dolby providing an entire Atmos system from authoring to rendering, end-to-end.
The only place upmixers typically exist in devices anyway is in AV receivers and soundbars. Yes, they can exist in the broadcast chain somewhere before encoding and transmission, but broadcasters should know to manage that experience any time object-based audio is in play. As for the rest, Dolby already offers its own upmixer that works with the Atmos renderer. There really is no good reason to go outside of this, and licensees of Dolby technologies are only degrading the end user experience by doing this.
Again, Dolby doesn't care per se whether someone else is using another system, be it DTS or Barco or Fraunhofer. All they care about is that the content owners and distributors don't have complaints because of this. Certain folks who provide premium content, such as HBO, are huge sticklers for audio quality and have been pioneers since the beginning. If they're investing in Atmos, they don't want the downstream experience affected and so Dolby is really doing their bidding ultimately.
So no, there's no conspiracy and Dolby isn't doing this to screw anyone else over. "Blame" the content owners if you want to blame anyone, but Dolby is just trying to provide a consistent experience that has eluded folks for decades now. If you want proof of that, go watch 100 different videos from any large free streaming site and tell me that you won't touch the volume control.