I do think you could go straight from the crawl, tilt down to the nebula, and then Kylo jumping in. (I know when LFL released that scene early, there’s a cleaner open to that scene than what’s in the movie, so there should be a few more seconds of silence/starfield to use, too. All that wayfinder stuff doesn’t even really matter ultimately, and you get a more direct echo to Return of the Jedi where the movie opens directly on one villain flying to the big villain base, where the big bad resides for the rest of the movie. Poetry, rhyming, yadda yadda, but I think it’s much more clean to pan down from the scroll to the starfield/nebula, and have someone pop in from lightspeed and we track them to the planet. It’s much, much cleaner than what’s happening in the theatrical cut, and once you get rid of the oracle, you might as well get rid of the rest of it, there’s nothing else in those scenes that is “explained” any further than just seeing the weird thing plugged into the ship and realizing it’s steering him. It’s pretty self-explanatory (The theatrical crawl basically sets it up in one line anyway).

Plus I think the big wham of Palpatine being there, ends up having more impact if there’s basically no lead in to it at all. He’s already the first spoken voice in the movie.

I also think that you could end the movie completely wordlessly, and maybe it should end that way. cutting the woman out should be pretty easy, and if the whole scene is wordless, Luke and Leia showing up could be cut together in a way where Rey doesn’t even really see them - you could arrange the scene so that she’s already turned to the sunset or something, and Luke and Leia appear and approve of what she’s done without her really knowing, or acknowledging, that they’re there and have given their blessing. Depending on how the music is mixed and chosen there, it could end up being a little more poetic/poignant that way.