In contemporary North American media, caricatures of Asian women are less frequent than the past, yet the ideologies behind new images remain largely unchanged. Although Hollywood has attempted to include more Asian women on screen, most of their roles remain limited to one of two trajectories: stereotypically Asian, always marked by otherness, and thus seen as a separate entity from North America; or assimilated, adopting Western imperialist ideals, and rejecting cultural ties to the East. Curiously, the latter approach to writing Asian characters is often seen as progressive because of its departure from recognizable archetypes. Rather than incorporate the cultural backgrounds of Asian characters into their narratives, much popular media insists on muting any discussion of ethnic differences. These representations, which profess inclusivity, actually “function to domesticate and fold in colour, thereby recentering the desirability of cultural whiteness as mainstream” (Kim). In her comedy special Baby Cobra (2016), Ali Wong rejects being synonymous with lesser in favour of a platform from which she can control public perception. As the second Asian-American woman to achieve mainstream recognition in stand-up comedy, she demands visibility with her presence alone. Moreover, Wong’s performance at once exaggerates and subverts conventions of Asian femininity to deconstruct regressive social categories and, ultimately, call for new ways of imagining.