If you were to drop a droplet of water into the ocean, how much would the water level rise? By an infinitesimal small amount! The same impact has the introduction of the M10-P by Leica, Wetzlar. The improvements are minor and the price increase is only a pleasure for the CFO of the company.
I do not receive any cameras for inspection and testing (the management presumably thinks I am too critical and not enthusiastic enough). Well the point is that I am critical of the current strategy that is based on three pillars: (1) expansion into a broad portfolio (from cine lenses to spectacle glass and exclusive watches); (2)exploitation of the mythical past; (3) introduction of a range of cameras that are secondary compared to the products of the worldwide photographic industry.
There was a time (long ago) when the Leitz Company designed new cameras when the engineers thought that the new product could significantly enhance the quality of the photograph or assist in taking better pictures. That was the period when the whole photographic world would wait for the announcement of a new Leica camera.
When looking at the three additional features of the M10-P (the more silent shutter, the level gauge and the touchscreen), the basic question is: do these features help the photographer taking better pictures.
The answer is obviously negative. There are early comments that the silent shutter is good for street photographers. The reality is that the normal urban street isto full of noise and that the camera noise will not draw any attention. The touchscreen requires that the photographer to hold the camera in one hand and uses the other hand to pinch and swipe over the screen. This is hardly the condition that HC-B called the extension of the eye. The classical handling of the camera requires a triangle of two arms and the forehead to stabilise the camera and to focus on the subject. The functions of the touchscreen may be helpful for post-photography inspection, but not for the act of photography itself.
The gauge level is good for studio and architectural photography. These are hardly the domains where the M camera excels. And what about the famous skew horizons of Garry Winogrand?
The M10-P is a camera type that the world is not waiting for, but it might excite the occasional Leica guru.

Remember!
Below a marketing picture of the M8 and silent shutter

Below the almost identical picture for the M10-P and silent shutter

In a recent video, the director of operations, Mr. Stankovic, explains how cameras are assembled in the current workflow in the Wetzlar buildings. To give you some context, the classical way of manufacturing, serial numbers allocation and assembly may be elucidated.
When Leica had only two camera systems (the R- and M-line) with a range of lenses, the workflow was like this: the product manager decided how many cameras and lenses were to be made, based on demand and sales forecasts. Then for every camera and lens a batch of serial numbers was reserved and the production of such a batch started. The production of every batch required time, because the batches were made in succession. This had the consequence that some products were temporarily unavailable or (worse!) did not sell at all and were in stock for a long time. This method was transparent, but had the danger that capital was destroyed. The manufacturing method was a version of the very old assembly line: a line of workstations was established and on every workstation one person assembled some parts of the product.
The agility concept implies that the production responds very quickly, if not immediately to market movements. A new product requires a fast production run to have enough items available, but the demand of existing products also needs to be satisfied. Therefore the new method is to have a number of assembly stations where one person assemblies up to ten different products (presumably in a period between a day and a week). This method explains a few things: serial numbers are now almost allocated at random, the product quality is less than what it was. Classical cameras (like the M-A) are organically assembled from a number of parts. That is why one person on one workstation assembles one camera at a time. This can be done because demand is low.
Modern digital cameras are assembled with subgroups (like shutter mechanism and electronic boards) and every assembly stage is controlled by computer. This makes it easier to assemble a variety of products in a short period. For lenses the same method is implemented.
The advantages are clear: hardly any obsolete stock and a fast reaction to changing demands. The disadvantage? Think for yourself!