Othello, Macbeth, and Leontes all lash out irrationally, murdering those they love and destroying self and standing in the process. The intervening centuries, though, have seen a curiously sustained effort to inscribe a gendered distinction between madness and reason onto Shakespeare’s characters. This chapter examines the work expended, in recent adaptations, toward grafting rational motivations onto these men, particularly engaging Justin Kurzel’s Macbeth (2015), Jeannette’s Winterson’s The Gap of Time (2015), and Tim Blake Nelson’s O (2001). These three examples of imposed “logic” in adaptation mirror a broader interest in explaining Shakespeare’s men. Such an insertion of masculine reason in any single retelling may make for an interpretively rich adaptation, but the insistence on this search for rationale reveals more about our current feelings about gendered instability and irrationality than about Shakespeare’s own. When we give in to this impulse too broadly, we can erase the truths of the complexity of early modern genders and reify our own problems with gendered differentiations. This chapter questions why we can’t let men be mad and cautions against allowing a trend in adaptation to become a truism about Shakespeare’s genders, or our own.