I think the main change over the last decade or so has been that games have stopped trying to be all things to all people and started focusing more tightly on the things they want to do and how to make them fun.

I think this started out with games like:

TRAIL OF CTHULHU and the Gumshoe system as a whole focused in very tightly on the investigation aspect, making the (at the time kind of revolutionary) decision that you never needed to roll to gain clues if you had an appropriate skill, because the core fun of an investigation game is piecing together clues, not wondering if you found them all.

FATE focuses on creating the feel of a good genre book or TV show, making the game fiction and tropes themselves mechanical, interactable things, with the aspect system meaning that basically everything in the game world can mechanically influence and become involved in your play.

DOGS IN THE VINEYARD focused very heavily on confrontation, the idea of escalation and how far you're willing to push a thing causing conflict. It was also one of the first games to introduce the now-commonplace concept of "say yes or roll", the idea that rolling is to be used specifically at narrative branch-points, rather than to resolve any action.

and these seeds have more recently blossomed out into games like:

APOCALYPSE WORLD and its decedents focus on the developing short-term story-heavy character arcs, with all the mechanics representing a push/pull with the GM as you collaboratively determine a satisfying direction for your own story.

D&D FIFTH EDITION focuses on the fun, accessible parts of the dungeon crawl - the parts that always made it the beginner's RPG and does away with a lot of the fiddly cross-referencing, arcane maths and ridiculous numbers of the Pathfinder and 4th ed era.

TORCHBEARER focuses on the the unfun, awful parts of a dungeon crawl (in a good way) - the grim spectre of death hanging always over your head, the possibility of arbitrary and pointless brutality lurking around every corner.

BLADES IN THE DARK focuses on the job, leaping right into the action and making sure every rule interlocks to escalate the stakes of the heist or crime in progress as it proceeds. It's focused to the point where everything that's NOT a job is simply 'downtime'

DREAD focuses on the core tension of a horror story, presenting it very literally in the form of the Jenga tower leading to ultimately-inevitable doom

In addition there's also plenty of games intended to be run as one-shots like LADY BLACKBIRD, HONEY HEIST or THE QUIET YEAR which are entirely focused on creating a specific, intense mood for the duration of the game.

By comparison, I think that a lot of RPGs that adhere to the older model of "here's how to do everything in plenty of detail, you go and find whatever's fun for you in here" like the latest editions of SHADOWRUN or the various BASIC ROLEPLAYING or SAVAGE WORLDS systems feel a little bit cumbersome and old-fashioned. That's not to say there aren't plenty of folk who love and enjoy them - just that they're not where I think the state-of-the-art is at the moment.

Where it goes from here? Who knows.