Another major transition like that 2011 debacle? No. And I think Oliver has a point, FCP has been what it is for ten years. It's not going to become something different. I use Pages and Numbers daily, I find them fast, easy, powerful for the office work I do. I don't need the extra stuff in Word and Excel, especially the price. But Pages and Word I don't see as competing head-to-head.
Logic Pro X is in pretty much every professional recording studio, right next to ProTools. I've never seen a recording studio without both. So in that sense, Logic is not like FCP, it develops faster, more robustly, and remains focused on very professional music/audio productions. I don't think FCP is in the same professional realm as Logic.
FCP is what it is, it won't ever be anything more, and that's that. Which means along with new ownership of the TV station I work for, which means a big format change, and I may switch NLEs for my department during that transition, also. I'm weighing pros and cons at the moment, but FCP hasn't anything to hands-down make me stick with it at this point. I'm looking at Resolve and Lightworks.
And if you're good using FCP long term, go for it, it's the NLE for you.
Final Cut Pro is still the main NLE I use most days, it's fast and works incredibly well for most things I do, however I realise that it's probably on it's last legs. I am not expecting any significant upgrades going forward. Resolve is moving forward at a fast pace, it works very well on a Mac and I use on projects where FCP doesn't have the capabilities I need., it's an incredibly powerful tool, especially in the studio version.
Best bit is that my two main NLE's have cost me around £700 to own over the last ten years!!!
The one thing I will point out though is the under-the-hood advantages of FCP when working on a Mac, especially using an Apple display. Going between Resolve, Premiere, Media Composer, and FCP, Final Cut is the only NLE in this group where what I see on an iMac UI generally matches my output to a TV display (SDI or HDMI) as well as a file playing back on the desktop.
Premiere and Resolve generate files set for 2.4 gamma (the Rec 709 standard). As a result, a QT file that looks right in broadcast will not look right when played through QT. So if your deliverable is both for broadcast and the web, you may often have to create secondary files with some compensation for one or the other. I do not often find that to be the case with FCP, largely because of the secret sauce Apple uses in the color management between their displays, FCP, and QT.