I'm going to throw one more pebble in the pond.
Another approach is to shift your learning focus to repertoire over rudiments for a little while.
That is, learn songs note for note. This way, you'll come into contact with new technical material which is already in a musical context. Once you've mastered a part in its native habitat, you can then apply it in other similar - or dissimilar - musical contexts, as the case may be.
First off, this way you're going to challenge your existing technique in a way that is immediately useful.
Second, this way you can get into the thought process of the player who originally played the part and understand why they chose to play THAT part in THAT place and so when faced with similar choices of your own, you can make their thought process part of your own. You'll see how they chose to use a particular sticking, say, because of how it flows out of what they played prior and into what follows. Then you can take that principle and apply it to your own stuff.
I find this is a really good way to pick out holes in my own playing. I might have practiced stickings and coordination challenges umpteen ways and at a variety of tempos, but it never ceases to amaze me how many times I come across a tiny hole in my own technique/control when I try to play a part someone else has come up with. That's because each of us has particular strengths, or things that we emphasize in our practice or habits formed from our experiences practicing and gigging certain repertoire. So while another player might have fallen into a habit of playing a fill a certain way and with a certain sticking and have it become old hat to them, I might never have done it just that way and trying to imitate them takes me into an entirely new place and shows me something I never thought of or never really *owned* from my practice sessions. Moreover, it can show you new ways to apply what you already own.
This is one of the strengths of the "drum cover" culture we see on Youtube, etc. I've seen a lot of my younger students grow in leaps and bounds when working to cover stuff they sort of had no business trying to cover. Yo Yo Ma used this technique early on in his development to tackle material that many would've thought far beyond a player of his age and development. But, diligently hammering away at difficult passages two notes/one movement or bar at a time, he was able to push his technical abilities to the brink on a daily basis. So, you can take a transcription of something played by a drum hero and work it out piece by piece or you can even take a simple pop tune and try to get all the subtleties out of the drum part you can. Hell, man, try playing Ringo's fills just like Ringo. Good luck with that!
Mostly, this process gets you out of the physically dominated method of practice that a lot of drummers fall into. That is, we worry about Rs and Ls and this-foot-before-that-foot, etc.. We don't always do enough listening to music and thinking about developing parts that work in a musical context from the technical foundation we've built. This way, you're going to be doing as much listening as playing. And that's where the gold is.
