I’ve also just spotted that you have a repeated shot in your first movie: Both times Din approaches the small space station where he gets the prison break job, his display shows the same readout then the camera pans up to the approaching station. I’d cut that the second time - you have enough of a different shot of him approaching it again without needing that first one.

At the very end, I’d also just cut right from the Crest’s feet touching down to the shot of Grogu and Din leaving the ship as the music swells - no need to take a pacing pause to have Din tell Grogu not to follow him (this time).

Another thought for Book 2. We’ve talked a lot about the overlap point between Din and Boba, around Fennec’s unconscious body. I think the ordering you have right now from Din’s perspective is absolutely right, but I’d tweak Boba’s just slightly. I’d cut from the scene of Din and Grogu flying away (the shot of the Crest from behind going off into space) to the scene of Boba discovering Fennec - but only to the point where he turns her over and sees who she is. (This works nicely with the shot of the ship leaving, since abnormally for this show, the camera doesn’t follow the ship away - it’s almost as if the direction here says “there’s more to see on Tattooine first even though Din is leaving”). Then, once Boba turns over Fennec, cut to the scene of levity in the Crest cockpit into the flight toward the wetlands planet (music works for this), and the scene of Din and Grogu seeing Cara’s fight. Then back to Tattooine for Boba and Fennec now sitting at a warm fire, and you’re back to where you were. This version of events just slightly improves the timing of scenes relative to each other, and makes a bit more logical sense to me.