Evelyn Mok hungers to speak about the uncomfortable, but for a Swedish-Chinese woman, who will gladly "take cake over di*k any day of the week", this is something that comes easy to her. British people however, as she quite rightly has observed, are adverse to discussing anything remotely distressing.
Her ability to interact with selected audience members is a skill that is always a pleasure to see and the sign of someone who knows what it means to be a true comic.
This is the comic's second show at the Edinburgh Fringe and like her debut last year, picks on similar themes of family, body image, sex and female issues — topics she clearly feels confident with and isn't done with just yet.
From her sexually repressed Chinese parents, to her gripes about periods and love of food, Evelyn flits between short stories and clever one-liners to impart her message. Starting her set with a confession about her genital discomfort kicked off what is undoubtedly a highlight of this hour, alongside a routine about her dad's decision to buy her a black Barbie and a story about culturally-appropriate spanking equipment, all of which has everyone in hysterics.
There was also a monolgue about bisexuality, questioning her love of men versus women, which is a delight. However, unlike her debut show Hymen Manoeuvre, Bubble Butt is more sober in tone, going for the jugular with the #metoo movement as well as opening up about the roots of her anxiety and intimacy issues.
What is most impressive about the comic's performance is how she endears herself to an audience while simulateously blaming yet appeasing them for the mistakes of society. Her ability to interact with selected audience members is a skill that is always a pleasure to see and the sign of someone who knows what it means to be a true comic.
Perhaps the only shortfall in the latter half was the somewhat acute shift from the #metoo movement to her own experience of sexual misconduct. This unexpected turn may be why some bits of material possibly didn't deliver the same kind of laughs as she received in the earlier half.
Despite this, she does not fail to produce some belly-achingly beautiful moments and weaves her way through race, gender, sexuality and privilege like a seamstress.
And although there may have been chunks that many found uncomfortable to watch, something tells me Evelyn wouldn't have had it any other way.
