In this paper, I examine how the identities of mother and wife are portrayed through the lens of stylization and positioning theory (Davies & Harré, 1990) in the 2022 action-comedy anime series SPYxFAMILY. I focus on one of the main female characters, Yor Forger, in select episodes where Yor’s role as wife and/or mother in the show is foregrounded, including Yor and her interactions with other characters. I hope to shed light on how femininity and women are portrayed in a fictional world that resonates with general audiences. The findings reveal that Yor’s position of her as mother and wife is both reflexively and interactively positioned. Yor often positions herself in both identities in a conscious manner. Yor’s position as mother and wife is maintained when other characters either reaffirm or challenge those positions. She is frequently positioning herself as a “real” mother to authenticate herself internally and in front of others, but her true nature often slips out. Most scenes involving Yor often take place when she is not positioned as an assassin, therefore foregrounding her non-assassin identities such as mother, wife and sometimes government employee when she is at her workplace. Despite Yor’s non-normative role as an assassin, which is her character’s real identity in the anime, she is often positioned as wife or mother, whereby she maintains her speech style and her consistent efforts to become a better wife and mother to Loid and Anya. Yor’s characterization aligns with the societal norms in Japanese society of what is expected of a wife and mother, despite the flaws which are presented to the audience. Yor’s characterization can also be seen as a social commentary on the various expectations that Japanese society has on women, to the point of it being humanly impossible to meet those expectations.