I think it's clear that, like a lot of modern comic editors, what we have right now is a department driven by dudes who are convinced that they know the marketing code for guaranteed long-term success, when in reality its likely they've really only found themselves occupying a powerful job in what's actually a very niche industry and are misinterpreting data and creator feedback.
I tend to think that when the comic market bubble burst back in the 90's, a little-known output of it was that the editing pool actually took the most hits in terms of future employment by skilled workers. Writers and artists still arise at about the same rate of quality (since the "niche-in-a-niche" of comic fans they come from likely wasn't effected), but the smaller, more static marketplace decreased the financial interest for those people with gifted skills for comic editor jobs as well as the type of market reactivity needed to "train" competent comic editors... and its likely the result of the companies becoming convinced "good" editors happened to be the same type of editors who destroyed the marketplace in the first place.
These guys likely all follow the same over-intrusive, formula-obsessed line of thought that created The Clone Saga - especially since some of The Clone Saga's genesis emerged from a similar obsession that marriage was killing off a part of the comic's appeal.
So of course they don't know what the "youths" want, they're following the same game-plan that wrecked the marketplace long ago - where the obsession that marriage kills comic interest is a minor part of the same smorgasbord recipe that involves a lot of variant covers, short term sales tactics, and a lot of office politics instead of scouting out and learning how to groom strong writers.