Director Julie Taymor's 2010 reimagining of Shakespeare's fantasy work, The Tempest, introduces some major changes to the source material. The most obvious is his choice to swap the gender of the protagonist, Prospero, a male, with Prospera, a female (played by Helen Mirren). In this essay I will explore how a sex change and its effects on all the relationships Prospero has – with his daughter Miranda, his servants, Ariel and Caliban, and his brother Antony – disturb The Tempest's original social commentary on politics and race. The broader implication of such a sex change is seen between Prospero, Shakespeare's final alter ego, and the playwright himself. The show no longer functions as a farewell to the theater, but instead functions as a celebratory welcome to female empowerment in the 21st century. This research paper uses scholar Stephen Greenblatt's Will in the World: How Shakespeare Became Shakespeare, as well as other critical scholarship, to support the argument presented. First, I agree with Director Taymor herself when she states "that the mother-daughter dynamic is different from the father-daughter dynamic;" the parent-child relationship between Prospero and Miranda softens the virtue of the 2010 film adaptation (Radish). Film critic A. O. Scott, in his analysis of the 2010 revision, writes: "When the character is a woman, a central relationship in the work, between the magician and his beloved daughter, Miranda, loses some of its traditional, patriarchal dynamic ”. Making Prospero a woman, any reading of the character as a tyrannical ruler over his daughter (manipulating Miranda as a pawn to regain power) – highlighted in one case by Prospero soliciting Ariel's help in making Miranda fall in love w. .. in the center of the paper ... reads like a poetic acceptance of human mortality as a magician's defiance that clings to familiar tricks or his power to create worlds with his writing, there is no such finality in the film of Taymor (5.1.2071).This is because, in transforming Prospero into Prospera, the connection between character and author is blurred Shakespeare, and Ebert states: “Taymor, in Prospera, rages against the death of the light.” retirement. Even more, Taymor's finale is full of sound, fury and excitement – ​​a celebration of sorts through its celebration of female empowerment and the exciting years ahead for women to finally ascertain equal rights, Taymor makes her point but loses the one made in the original text.