Chapter 5 illustrates an alternative to the hypermale ego by attending to more sensitive, creative male characters through the concept of Edelkayt as discussed in the work of Daniel Boyarin. The chapter begins with a transition into the subject through focus on one final alcoholic, Ned Seton in Holiday (1938). The tragic fate of the character exemplifies the importance of challenging hypermasculine norms by exploring alternatives that can offer a potential queer feminist countertype. To explore this figure, I discuss Cukor’s own identity within Hollywood alongside several of his most complex masculine characters: Macaulay “Mike” Connor in The Philadelphia Story (1940) and Paul Verrall in Born Yesterday (1950).