In many tragic plays, the protagonist is brought down by a disaster that is a consequence of the protagonist’s own error, his or her *hamartia*, the fatal flaw. Fatal flaws are disconcerting to the audience because they are not known or fully recognized by the protagonist – at least not until it’s too late. In this essay, I take a fatal flaws to be unreliable belief-forming dispositions that are unrecognized by us in some sense. I describe some different types of flaws and consider what we might do about them. I examine three types of policies for managing our fatal flaws: doxastic, dispositional, and methodological.