The design trade-offs insure that no speaker can fit all applications. Further, the shortcomings of speakers and audio in general affected the DEVELOPMENT of hearing since the 1930s, and have been locked in a vicious circle of audiology and audio parameters that are over-simplified from research and development based on speaker listeners.
Studio monitors are optimized to hear what is wrong with the recording, an aid to smoothing the rough edges - so the rough edges can be exaggerated. They also live as a rule in controlled acoustics, so the projection more than 30° off axis can be ignored. They used to be flush mounted, which eliminates diffraction effects. They need to be high efficiency, but not at the expense of flat frequency response on axis. As a tool to make money, the studios are willing to pay whatever it takes to get a commercial edge.
Consumer speakers need to sound ‘warm’, friendly, and inviting on a wide range of material including bad recordings, and in a wide range of typically bad acoustics. They operate at levels that don’t interfere with conversation, nor other activities in adjacent rooms (no acoustic isolation like studios).
Mass market products need to be relatively small footprint and affordable. They also thrive on marketing stories of unique (preferably patentable) design twists that you can’t get from other manufacturers; and striking visual appearance to fit in to ‘modern’ interior design and draw attention that grows ‘branding’.
These criteria divide studio engineers from audiophiles, and divide audiophiles into camps depending on the content they play, their listening rooms, and which speakers they heard as a child and teenager - or maybe the first “high fidelity” system that grabbed their attention.
Hearing is plastic and molds to the sounds it cognizes repeatedly. There are advocates for horns, domes, planars, electrostats, and AMTs; sealed box, vented box, transmission line, and passive radiators; 5-way, 3-way, 2-way, and full range; monopoles, dipoles, Ripoles, and multi-directional (direct/reflecting, cylindrical, etc.). They can’t all be right, or right all the time.
In my experience, very few people know what music sounds like because they only hear audio with all its cumulative distortions; consequently, they do not like the sound of the most accurate recordings through the most accurate speakers.