When is a lavalier truly superior to a compromised boom?

Hey everyone, Sara Lindquist here, Post-Production Supervisor. I'm currently on a narrative feature shooting on an AMIRA and the sound team is doing great work, mostly with a MKH 8060 on a boom for dialogue. The general rule is always boom first, but I'm curious about the specific scenarios where you've seen a lavalier truly save the day, even over a well-meaning but ultimately compromised boom. I’m encountering a few scenes with tricky blocking (a character leaning way into a prop, or very tight frames in a car interior) where the boom is just getting too far off-axis or is really fighting the lighting setup (we’re using PavoTube II 30Xs for some practicals). For these kinds of shots, we’ve relied on our 6060 lavaliers, but I'm wondering if there are other, more complex situations where you've genuinely found a lav to be the primary saving grace, not just a backup. What specific on-set scenarios have you found it necessary to prioritize a well-placed lavalier over a compromised boom?