Tina Fey and Mark Waters’ 2004 high-school satire Mean Girls already has a sequel. It’s called Mean Girls 2, and it is terrible and amazing. It’s not so much a “movie” as it is “a compilation of nonsensical montages stitched together with pat teen-com hijinks.” Meaghan Martin takes over the Lindsay Lohan role, as the outcast new girl at school who singlehandedly topples the established social order. Except instead of dropping bon mots from the acidic pen of Fey, she says things like, “My love life is none of your business!” and starts a counter-clique called, creatively, the Anti-Plastics. Except the Anti-Plastics, after having seized power, become just as mean as the original group they set out to depose! Everyone learns a valuable lesson about the corruptive potential of social status. The film is very bad, and also incredible.

The existence of a perfectly good-awful Mean Girls sequel hasn’t stopped New Line Cinema from making moves to launch a spiritual spinoff called Mean Moms. An item today from Deadline indicates that the studio is teaming with That’s My Boy and Horrible Bosses 2 director Sean Anders for the comedy, which will transpose the ferocious female dynamics from the halls of high school into the streets of the cul-de-sac. Jennifer Aniston is in talks to star in the film, as a “happily married mother of two who moves from small-town America to the high-class suburbs [and] suddenly must confront the cutthroat world of competitive parenting.” Though Aniston’s involvement has not been solidified, it looks as if she’d be slated to take over the Cady-type role.

This may sound like a ruthless brand extension straight out of the Hollywood dream factory, but Mean Moms is another adaptation from a book by Rosalind Wiseman, titled Queen Bee Moms And King Pin Dads: Dealing With The Parents, Teachers, Coaches, And Counselors Who Can Make — Or Break — Your Child’s Future. It’s a pretty rich premise for the vicious, riotous strain of comedy established by the first film. Anyone who grew up in the suburbs knows that when it comes to performative childcare, moms can be remorseless. Extensions pulled out at bake sales, key-scratched minivans, passive-aggressive jabs so sharp they can cut metal—moms are not to be trifled with. The creative personnel doesn’t inspire too much optimism, but maybe we can hold out hope that this film will have the wit and soul of its predecessor.