Ritesh Sharma
Adapted from Sally Thorne’s bestselling novel and directed by Peter Hutchings, the 2021 movie ‘The Hating Game’ presents a workplace dynamic set within a publishing house that appears fully realized, with internal politics, creative conflicts, and the looming release of a curiously titled book. Viewers may find themselves wondering whether “Bexley & Gamin (B&G)” is an actual publishing company and if “Stripping Time” is a book they can find on shelves.
B&G and Stripping Time Are Not Real
Bexley & Gamin, commonly abbreviated as B&G, does not exist outside the narrative of ‘The Hating Game.’ It is a fictional publishing house created for the novel and retained in the film adaptation. Likewise, Stripping Time—a book repeatedly mentioned in the storyline—is not an actual title that has been published. Both serve specific narrative functions: B&G as the professional environment that defines much of the protagonists’ daily interaction and Stripping Time as a humorous yet pointed reference to the occasionally unpredictable nature of the publishing industry’s output.
The decision to create a fictional publishing company allows the story to explore office hierarchies, mergers, and workplace rivalries without tying them to real-world institutions. Similarly, Stripping Time functions as a symbolic element, contributing to the plot’s tone and satirical edges. These elements are not intended to be taken as factual or representative of real industry practices, even if they draw upon recognizable tropes and professional tensions.
The Role of B&G in the Narrative
In the world of ‘The Hating Game,’ B&G is the product of a merger between two very different companies: the traditional, literature-focused Gamin and the more commercially driven Bexley. This merger sets up a natural conflict that extends beyond business decisions, shaping the personalities and priorities of the characters who work there. Lucy Hutton, representing Gamin’s legacy of warmth and accessibility, often finds herself at odds with Joshua Templeman, who aligns more closely with Bexley’s clinical efficiency.
The fictitious company becomes a representation of ideological contrasts—art versus commerce, warmth versus discipline—which mirrors the emotional trajectory of the central characters. The workplace is not merely a backdrop but a microcosm where personal values and professional ambitions intersect. By embedding these dynamics within a fictional setting, the narrative avoids any direct commentary on actual publishing houses while still allowing for a believable portrayal of corporate friction.
Stripping Time as a Narrative Device
Throughout the film, Lucy is assigned to help promote a book titled Stripping Time, a detail that recurs primarily for comedic effect. The title itself is intentionally exaggerated, playing on the ambiguity and potential for misunderstanding. At one point, Lucy exasperatedly remarks, “It’s not Stripping Time, it’s Stripping Time!”—a line that humorously illustrates how inflection alone can drastically change interpretation. This moment, while brief, highlights the absurd challenges she faces in navigating the disconnect between a book’s content and its presentation. While the narrative does not explore the book’s actual subject matter, its presence functions as a touchstone for the broader absurdities of Lucy’s professional environment. Notably, she also expresses frustration that the cover was designed to appear unnecessarily erotic—an editorial choice that does not align with the book’s content.
This incongruity serves as a quiet critique of how marketing departments often prioritize attention-grabbing visuals over thematic accuracy. Though entirely fictional, Stripping Time operates as more than a throwaway gag. It reflects the occasional dissonance between creative intent and commercial strategy within the publishing world. The humor surrounding it is underpinned by a broader commentary on how titles and content are frequently reshaped to enhance market appeal, sometimes at the expense of substance or clarity. In this way, the inclusion of Stripping Time reinforces the film’s ongoing theme of navigating the tension between personal integrity and professional obligation.
Read More: The Monkey: Is Boomerang Aneurysm a Real Medical Condition?
