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Looks like a pretty good list. Some things may not need as much work as you think. I guess I'd think in terms not so much as mastering the complexity, but recapturing the simplicity.
For example, you've identified the problem with the orientation of the eye on our right. And you're correct in that, but forget for now that it's an eye -- which in turn will help you see the larger value shape in which it lies and resist the urge, say, to paint a very light "white of the eye" just because, "well, this is an eye, and an eye has to have a white part, so I'll paint this white."
[Can't recall which painter was being quoted -- Monet, I believe -- though Lao-Tse said the same thing in a different way a long time ago: In order to see, you must forget the names of the things you are painting.]
Remember that the hair is, first, a form in light, and later, judiciously added strands.
And keep "drawing" as you paint, cross-checking reference points. What's the relation between the top of the ear and the eyebrow? The relation between the outside contour of the ear and the point at which the neck meets the shoulder? Is the slope of the edge of the neck correct? Is the difference in "elevation" between the bottom of the chin and the top of the shoulder (in the deltoid area) a problem? (Maybe, maybe not -- depends on whether you're going for a stylized effect.)
You've got your dark darks and light lights. Employ more halftones between them to help you with rounding out forms such as the nose.
I don't think I added to your list, just kneaded it a little.
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