Looking for 'the BEST course' is like looking for 'the BEST camera' or 'the BEST graduate school'. There is no one BEST.
IMO, photography is the most complex of the graphic arts. Because of that complexity, it is difficult to progress past beginner-ness in any organized manner that doesn't result in wrong turns and dead ends. You, or anyone, will never be terrific at everything and its at the point when you realize that there are only a few areas you care about that your real, useful education begins.
For the basics, I suggest that people learn the basics of their camera, exposure, using the basic tools of their chosen post-processing software.
Then start narrowing your interest and learn in a more task oriented way. How do I do this, how do I do that?
Each of these questions requires answers that spawn new questions.
IMO, and IME, large workshops are useless because the instructor must cover a wide field of expertise.
The smaller the workshop, the better. You and the instructor with perhaps one other person at your level is best.
There are two skills areas where book learning really helped me.
Selections - an absolutely critical skill and the book I've used for years is
https://www.amazon.com/Photoshop-Masking-Compositing-Voices-Matter/dp/0321701003/ref=asap_bc?ie=UTF8 - I've bought several books and this is the only one I've kept.
Sharpening -
https://www.amazon.com/s/ref=nb_sb_noss?url=search-alias=stripbooks&field-keywords=sharpening+photography . This book will help a lot especially in the area of artistic use of sharpening - and will show you why LR sucks for sharpening.
At the same time, I suggest you look at many pictures and try to understand, not just how it was done, but why you like it.
The goal here is not to understand how someone got a great image so you can repeat it but to understand what is so impactful in the image so you can create your own.
Shoot and learn to be critical of your own work.
Learn to see what is actually in the picture and not the picture in your mind's eye.
I don't believe in competitions as a learning experience, you are only learning what the judges like.
In the beginning, you will profit a lot from hearing lots of other opinions about what you are doing.
While you learn to correct technical inadequacies, try harder to improve your artistic vision.
Eventually you will profit less and less from hearing what everybody else thinks and you will listen and value only a very few.
The battle then will not be to satisfy others but to exceed the level of your previous work.