Starting with your form intersections, you've done some pretty solid work here. Admittedly your linework is definitely a bit sloppy at times (there are a lot of places where you've got unnecessary strokes that serve no purpose, likely made by reflex rather than actually thinking and planning before each and every individual mark), but most of the forms themselves are drawn to be cohesive and consistent within the same space, and the intersection lines demonstrate a good grasp on how these forms relate to one another in space. I say most, because you do have a slight tendency to draw your cylinders with too much foreshortening, which throws off their sense of scale relative to the other forms. Everything else is fine.

When it comes to the linework, just make sure you're applying the ghosting method completely - that means not drawing a single mark without thinking about what job that mark is meant to accomplish. Don't just put marks down by instinct.

Moving onto your object constructions, you're largely showing the willingness to break your objects down as much as is needed, subdividing things in order to find precise positions for every next form or detail. The patience, care and mindfulness here definitely pays off to yield a lot of largely successful constructions of forms that feel both solid and believable, and with pieces that feel like they fit together as they're meant to.

That isn't to say your drawings are perfect - you do certainly struggle with constructing your initial enclosing boxes such that their sets of parallel lines don't quite converge as consistently as they should towards their shared vanishing points. Make sure you continue to incorporate those freely rotated boxes from the box challenge (along with the line extensions) into your regular warmups to continue honing your skills in that area.

On that note, I did notice that you noticed that your initial box was off when drawing this object, and ended up attempting to redraw that initial box form to correct it. As a rule, don't correct mistakes - once you've placed a form in the world, accept how it has been drawn and keep building on top of it. A correction is by its very nature a contradiction - you end up with two distinct "truths" present in your drawing, and these kinds of conflicting assertions serve to gradually undermine the viewer's suspension of disbelief, causing them to eventually accept that what they're looking at is in fact just a flat drawing on a flat page. To put it simply, it's better to construct a stapler that appears to be warped or incorrect, but still solid and three dimensional, than it is to have a drawing that appears correct, but doesn't seem 3D.

Looking at your last two drawings, I'm honestly really pleased with how they came out. You had to delve into such a deep degree of complexity in terms of all the subdivisions that it would have been very easy to just throw in the towel and start estimating more - but you didn't, you stuck to it, and it really paid off. The sewing machine is especially impressive, but handling the numerous ellipses throughout the lamp is really remarkable. I have just one minor point that I feel was missed with the lamp, and that is the fact that the tube around the bulb comes off as being paper-thin, since there is just the one ellipse defining that end. As a rule, whenever you've got an opening, always try and place another ellipse directly inside of the first to create the impression of a "lip", a touch of thickness around the rim. Obviously drawing an ellipse that tightly inside can be difficult - you don't necessarily have to draw the full ellipse in this case, but implying its presence by capturing partial curves in key areas can help pull this off.

So! All in all, there are a few things to keep in mind, but I'm pleased with your work. I'll go ahead and mark this lesson as complete.