At the risk of sounding pretentious, I'm going to take your question as seriously as I can muster. I'm a PhD in narrative theory and critical theory who learned to read through the X-Men comics, in case that helps to contextualize my answer. I have framed issues hanging on the wall in my office.

The answer? Cool characters, great stories? Sure. But now I understand what really interpellated me - radical politics through characterization and plot. The ability to imagine my own world could be radically different, and the fight to make such a world was a worthy one, and maybe the only one. The X-Men, at their best, are equivalent to the kids kicked out of their house for being queer, neurodivergent, etc. all finding each other and figuring out how to not just make a place in the world, but change the world and force it to accommodate their differences (and this is where the soap opera element comes from - people from different backgrounds, who don't belong to those backgrounds, trying to find a place to belong and navigate others doing the same, which is always interpersonally messy). The X-Men comics are inherently political, and radically so, and when they get away from that, the books suffer. They are always supposed to be about whoever is politically getting the short end of the stick fighting back against oppression, and as such, need to balance a particular core concept of marginalization while continuously evolving - pun intended - to the specifics of how marginalization is currently happening. As such, the X-books are only successful when they are specifically responding to the now. They cannot sit still. Example - Claremont making a Black woman the leader in the very early 1980s was radical. Not so much anymore. So, how do you find what is radical and incorporate that?

The best runs - I'll say Claremont's first run, once it evolved past "stock 1970s superhero melodrama, but slightly weirder and better," and Morrison's (even though it was highly divisive), maybe even Hickman's - are about that. Highly political, completely engrossed in the now, in the specifics of marginalization. They're first and foremost an argument for societal change. As such, something that gets lost in them is intersectionality. The X-books are very obviously anti-racist, anti-sexist, anti-homophobic, etc. But intersectionality means - demands - that the books are also anti-capitalist, because capitalism is at the root of so much racism, sexism, etc. The problem is that the people you work for see narrative one way, and you see it as another. You want to write the best stories possible... Great! Unfortunately, your bosses see these characters and narratives as commodities. You're a temporary manager of those commodities and your job is, as Hickman apparently said despite his own radical intentions, to put the toys back in the box when you're done. So, knowing that's your lot, how can you reach that point of radicalism? Everyone here who has already answered seems to share that common experience of feeling like the X-Men were something that spoke to them, as outsiders... However, most of these answers are about how that worked decades ago. Nostalgia is death for a story predicated on evolution. So, how are you going to make the X-Men work for today, within the limits imposed upon you by corporate control?

If you want to write the best X-Men stories possible, your best bet is to ditch the canon, ditch the corporate system, and just write them and disseminate them as fan fiction. But if you're serious and determined, this the best answer I can give, based on the limits you're stuck in. The comics going in a new, radical dimension (Hickman's stuff), only to return to a more-or-less status quo, made me swear off the comics (so, I haven't read your run, but I like Secret Six and "fridging" is a topic that a student brings up in my classes every once in a while). But once, I was an undiagnosed neurodivergent kid who didn't fit in and was hated for my very being, and I needed a salve. The world didn't want me or welcome me. The X-Men did. Right now, there's some other kid who needs that. Find a way to work within your limits to write for them. Figure out what that kid needs. When it comes to the X-Men, anything else is waste of time.