In the never-ending quest for “new material” – an evasive and nearly mythical concept in Southern California – it comes as no surprise that Hollywood has officially thrown in the towel with its latest abomination: “Lord of the Flies,” a beloved and highly respected literary classic, but now with women.

While there are a multitude of objections and easily exploitable holes to the concept itself, it is only fair to include its future directors Scott McGhee and David Siegel’s intent.

“We want to do a very faithful but contemporized adaptation of the book, but our idea was to do it with all girls rather than boys,” Siegel told Deadline news blog.

While this new development may have been intended to incite a wave of feminist chatter, talk of empowerment, or excite the public with the promise of a modern spin, it is hard to get behind the blatant hollowing out of a revered story for the sake of a few rehash points.

To begin, Lord of the Flies was a story deeply embedded with symbolism, dark imagery and the underlying themes of savagery amidst civilization – all portrayed on a small island amongst a group of school boys.

To remove and replace a core element with the opposite gender is… well, take a look at the latest Ghostbusters remake, a film that couldn’t manage to cover budget. It fails to effectively capture the intentions of the author’s original creation.

And despite the director’s intentions, faith to the original may not even be achievable.

Many integral themes found in the piece were largely reliant on the gender and atmosphere of the island. How this translates into the feminine perspective is an interesting question, though many wish to leave it unanswered.

If not out of respect for author William Golding, perhaps the most offensive component is not in the elementary swapping of plot components, but the adherence to the title “Lord of the Flies.” Behind this title an imposter lurks, and though this “new” story may present an interesting outlook in its own right, it cannot be allowed to masquerade in the title of a well-known.

In the end, the motive is clear: by preying on a plot that already has a dedicated fan following, repackaging it and distributing it to the public, Hollywood seems to hope to cash in these compromised shells of formerly cherished works – and now they have the audacity to attack a Nobel-Prize-winning piece.

Somebody better take a stand quick, before an all-male rendition of Mean Girls or Little Women makes an appearance in theaters near you.