Gangster Feminism: The Feminist Cultural Work of HBO's "The Sopranos Merri Lisa Johnson ALTHOUGH NOT A SHOW "that goes in for'very special episodes'about abortion or bulimia," following reviewer Rebecca Traister's phrasing, The Sopranos has tackled some women's issues that may be even more uncom- fortable."' Given the regularity of scenes on HBO's six-season gangster drama that correspond to recognizably feminist issues—for example, Janice claims the identity of feminist despite letting Richie fuck her while hold- ing a gun to her head; Dr. Jennifer Melfi is brutally raped and subse- quently experiences symptoms of post-traumatic stress; Meadow's roommate, Caitlin, suffers from an anxiety disorder and self-medicates with Absolut Vodka; Carmela grapples with mixed feelings about her husband's adulterous relationships—T/ie Sopranos clearly qualifies as a site of "primetime feminism," fulfilling quality television's role, formulated eloquently by Bonnie J. Dow, as "an important ideological forum for public discourse about social issues and social change."^ In its representa- tions of rape, battering, and spousal murder, the third season of The Sopranos, even more than the series as a whole, persistently took up the feminist cultural work of examining "the economic and social roots of violence," mirroring a key tactic in cutting-edge cultural studies.-* The graphic nature of those scenes, however, prompted critics and fans alike to ask whether The Sopranos went too far.'' Others asked why the Feminist Studies 33, no. 2 (Summer 2007). © 2007 by Feminist Studies, Inc. 269