{"id":1371,"date":"2025-08-11T13:00:00","date_gmt":"2025-08-11T13:00:00","guid":{"rendered":"https:\/\/fightinginthewarroom.com\/THOB\/?p=1371"},"modified":"2025-08-11T03:14:31","modified_gmt":"2025-08-11T03:14:31","slug":"354-best-in-show","status":"publish","type":"post","link":"https:\/\/fightinginthewarroom.com\/THOB\/2025\/08\/11\/354-best-in-show\/","title":{"rendered":"354 – Best in Show"},"content":{"rendered":"\n
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Grab your half-butter-half-salt popcorn because this week, we’ve got something to make you howl! After the critically-hailed success of Waiting for Guffman<\/em>, Christopher Guest returned with another improvisational comedy set in a world of deeply specific eccentrics played by an ensemble of geniuses. Best in Show<\/em> is set in a world of competitive dog shows, with all the beloved pooches mirrored in their idiosyncratic owners. The film helped cement Guest’s brand of humor and earn an ever-expanding devoted fanbase, but Oscar was just out of reach.<\/p>\n\n\n\n

This episode, we talk about how the film’s precursor run was more robust than you think and the Guest films’ increasing Oscar pedigree. We also talk about the film’s endless quotability, how Fred Willard became the performance to be singled out from the ensemble, and the bittersweetness that runs through Guest’s work.<\/p>\n\n\n\n

Topics also include the 2000 Best Original Song race, lingering misunderstandings around improvisational vs. scripted, and Almost Famous<\/em>.<\/p>\n