User reviews

I marveled at what an amazing training opportunity this was for the tremendously talented girls aspiring to be professional entertainers. 1-2 years of coaching every day by the industry's best. Seeing how the coaches polished the participants who already had natural talent, and in most cases, many years of training already reminded me of the many levels between better and best.

Is it good television? It is a documentary of two major entertainment companies investing in a project with potential billion dollar returns. Every decision made is a business decision, with the girls as business inputs. Nevertheless, I appreciated getting to know the trainees.

Some of my favorites did not get chosen in the end. Good luck to both those who made it in the group and to the ones who didn't make it, who no doubt will go on to successful careers in the entertainment industry.

All 20 girls are so talented and Im sur everything's is going to work for them, overall the show is engaging and fun to watch and the performances and the music isa plus.

Its a shame everything that's happening with Hybe and i hope everyone can be happy, including the newjeans girls, the 6 winners are definitely amazing with Lexy for me they were the most all rounder girls in the whole survival show.

The final girls are going to go big im sure because we the people were the one who choose them and we are kinda experts in kpop after years if listening music and watching the choreography so we choose well.

Redundant title, but that's the point. Watch it if you like reality tv, competition shows, cliffhangers, and twists.

The show has a very unique perspective. I came into the show after I discovered Katseye. I personally loved building a deeper appreciation for the newly formed group.

Some aspects were slow. The competition itself does not start until episode 5, and the first 4 episodes consist of the training before the competition starts. This makes you build a connection with the girls that have been there at the beginning of the bootcamp.

I've only watched singing competitions; I like this more. It takes a lot of dedication and hard work to be in a girl group and this shows that hard work. The show also displays how dedication and hard work are the basics. There are 5 categories to consider such as Dancing, Singing, and Star Quality. This becomes more prevalent when the girls start to compete against each other. Unfortunately, the girls don't really understand until the competition really starts.

Is it cruel? Maybe, but the audience needs to decide it for themselves. The twists may push some girls over the edge. I was on the edge of my seat due to twists and cliffhangers. Despite knowing who makes the group I did have the occasional trainee that I was secretly rooting for. You'll never see the twists coming.

Just like any competition/reality show, there's gonna be drama. It's easy to pick a side but every result has an underlying reason.

Overall: I liked the perspective and execution of the show. In the end, despite already knowing the results, I was crying for one of my favs that didn't get in. It really takes you through all of the emotions and perspectives, so if you feel a certain way then this show did its thing. I wasn't planning on crying but the music and timing really had me crying then happy for all of my favorites. If I could rank on making me feel something alone it would be a 10/10. However, the show is slow. I think it's valid to criticize the show for not telling the trainees it was as a competition show until the 5th episode. Then I go back to loving how intentional every aspect of the show was. I really only removed 1 star because I wish episode 1 started with the competition versus the very beginning of this training bootcamp. The title of the show is accurate, but I wish it was just "PopStar Competition". Or, "Popstar Academy to Competition", which is wordy but is more accurate to the show. Instead it focused on the origins on Katseye. It's easy to be confused by the rules for each mission but I recommend making sure you understand the rules before watching the elimination rounds or you might find things unfair. Again, everything is intentional.

Shoutout to the Philippines 🇵🇭

I get the feeling that the makers of this show had the intention of creating a buzz around the formation of the next big girl group. Instead, I've watched a social experiment where teenage girls are subjected to harsh regimes, criticisms, and anxiety, all in the name of being famous and making some producers a lot of money. I appreciate that pop stars have to deal with a lot in their careers, but this really shows the shallow and ugly side of the music industry. I would say it's worth a watch just to understand the pop music industry more (read "don't let your children get involved"), but it won't be as entertaining as you might hope. The only saving grace is how nice it is that the girls support one another.

This series amounts to an 8 episode advertisement for a new global K-Pop band. The documentary makers retain some integrity for not shying away completely from the cruelty of the process the girls were put through, but ultimately they seem to have made several editorial decisions intended to soften those cruel edges.

The filmmakers can't be blamed for the awful management of the project at the heart of the show, but you do detect a deliberate decision to refrain from tarnishing the image of HYBE and Geffen Records too much (the music megacorps behind what can only be describe as an extended theatre of cruelty performance), lest Netflix not be invited back for another season.

The show follows an international group of very young women (14-21), as they're put through a two year training camp for what they think will be an internal selection process by the record label to create a new 'global' k-pop group, only to discover that they've signed up to a 'survivor show' at the end of it to decide the final members of the band. A 'survivor show' is the K-Pop version of the old TV pop talent shows from the west like 'Popstars' franchise - but conspicously more sinister.

Many of the girls come from clearly disenfranchised backgrounds (including one girl who is a refugee), however little is made of this by the producers, who give everyone's backstory a few glossy unsentimental minutes. Only one of the girls gets a huge amount of backstory - and even then it's all very superficial.

Nothing is explained in regards to income for the girls, we don't know if they're being paid during this years long process (some of the girls mention having no money as they pack their hopes and dreams into suitcases after being ejected from the program).

We also never linger over what these very young girls are giving up to be here, one girl mentions taking her place as a trainee has prevented her from graduating high school - but this is treated as nothing more than a funny anecdote, and no further enquiries are made.

Equally, a discussion between the girls about being away from home - in which one girl admits not being able to speak to her family for weeks - simply drifts by onscreen, unexplored.

Perhaps the most obvious of these attempts to shield HYBE and Geffen Records from public scrutiny regarding the cruelty of the process, comes at the expense of what would otherwise be a rather critical scene for a show like this.

Once the girls have made it to the 'public' survivor show part of the process, they take part in three elimination rounds which are judged partially (and it is only very partially) by members of the public.

The elimination scene for the first round is heartbreaking, the second elimination scene is harrowing, and the third elimination scene was presumably so brazenly vicious that it's given the 'off screen death' treatment, where we skip from the girls arriving to hear whether or not they've wasted the last two years of their girlhood from a disembodied voice on a television screen, to a montage of the survivors tearfully calling their loved ones to report their Kpop dreams are still alive - giving strong disaster survivor vibes.

Yet there is a slightly less obvious, but none the less very telling detail in the documentary that belies the filmmakers obedience to the HYBE/Geffen machine - the lack of follow up.

Unlike other Netflix shows following a bunch of kids as they try to achieve their dreams in time limited settings (Cheer competitions, Basketball finals, Football drafts) - after the final 6 have been picked, and the credits start to roll - we do not get the usual 'where are they now' pre-credit closure snippets of the one's who didn't make it on the show. Indeed, it seems, that like the rest of the whole show, the ending is an exercise in minimisation and distraction - nudging the audience not to think about the brutality of the process, rather to just enjoy the shiny happy teens who've emerged victorious from a process none of them fully understood they were consenting to when they skipped over the small print in their application forms.

The access the producers had for the documentary could have been used for that most noble of documentary pursuits - making tangible change in the world. It would have taken barely any effort to turn their footage into an expose that could have led to mass calls for reform in an industry that consistently exploits minors.

Instead, hemmed in buy cowardice and perhaps corporate interest too, the filmmakers leave their audience with an uneasy sense of being complicit in an extended episode of emotional and financial abuse - without our concent, much like the girls featured in the show.

Taking young girls, lying to them, manipulating them and overworking them is crazy twisted. This does NOT paint the label or the executives that approved this project in a good light. Towards the end felt like the teachers were trying their best to damage-control the girls' mental healths in the face of the horrible executive decision-making. Feels like I'm watching some kind of twisted social experiment - barely feels legal to treat anyone like this, let alone under 18's. I didn't care at all about who ended up in the group by the end and just felt bad all round for all of the girls that were subjected to 2 YEARS of this. This is a lesson on how NOT to build a lasting global pop group.

This is John Marrs' Family experiment in reality. So freaking scary and upsetting. I know that this is not a new thing in Korea, but that does not make it any less freaked out.

A testimony to the extreme capitalism we're in right now.

As we're no longer happy with adults doing weird stuff on tv, we now need young girls selling overly sexualised behaviour on screen. Which is astounding but also kind of spooky, as they become a commodity while also something young girls across the globe aspire to copying.

On the show, the girls all have language for emotions they have, without the actual knowledge of those emotions, as they're too young and influenced by social media to do other than copy what they hear online. It's not their fault; it's what they've learnt. And they need to know in order to be on this kind of show. So all in all, the reality show taken to an extreme, now with teenagers in the main cast.

Is that really the best humanity can do?

Love seeing al the contestants be so nice to each other and form deep relationships, they all worked soooo hard!!! Huge respect!

Hated the fact that all these lovely people did not know what they signed up for and got lied to by the makers of the show

The makers said things like, fans want drama and the show needs it

NO WE DON'T WANT DRAMA!!! WE WANT TO SEE GIRLS FOLLOW THEIR DREAMS, HYPING EACH OTHER UP, HELPING EACH OTHER, they did exactly that, But the makers ruined it

This show missed the mark, it wasted it's own potential by choice, could have been a great launce for a new gil band!!!

A group of talented but naive hopefuls from around the world consent to giving away up to two years of their life to a multinational music conglomeration intent on melding them into an international, cohesive, KPop-style girl group. Though contracts and NDAs were signed by all, apparently not a single participant bothered to have an attorney look over the contracts or have them explained. Apparently, they each took the promise of, "Baby, I'm gonna make you a STAR!" at face value and didn't consider the potential price that each would have to pay. Have they never been taught that "All that glitters is not gold," or the clear winner when you make a deal to "sell your soul"?

Besides the giant spiderweb these ingenues become ensnared within, I was immediately struck by the lack of professionalism of (what I call) "the camp counselors", particularly the woman in charge, who actually wept with emotion when speaking to the initial group of 14 hopefuls. Her way of speaking, with many of her declarations/statements are made with an upturn at the end, making each sound like questions. Her manner of presents herself in frumpy clothes, slumped posture, and offering little eye contact when communicating, doesn't inspire confidence in her abilities or authority, either. Her sister, the professional dancer (the "fiery" one), is far more self-assured and confident, and she deals with the girls with authority and clear(er) expectations.

We're given few details about the girls other than some carefully-curated backstories. For example, which girls are homesick? Is school provided for the minors? Which girls are with "guardians"/parents and which ones are in the house? What does a typical day look like: how many hours spent dancing? Singing? Presenting? Have the girls been instructed on cultivating a unique persona? How disciplined is each girl, really? How reliable? How many dance routines did they have to learn? How do they afford to go out? Who pays for personal grooming? What about conflict amongst the participants? Feelings of jealousy? I can't be the only viewer alarmed by the story told by one of the younger girls' "guardian", which goes something like this: While lurking around a random performance event (a pageant or dance recital), she happened across a most charismatic and talented child of about 6 or 7 years old, whom, she was convinced, could become a star, but only under her own tutelage and Hollywood connections. Somehow, this fairy godmother convinced the child's parent/s to sign over guardianship and move her to Hollywood. We're never told what the fairy godmother was getting out of the deal (other than unfettered access to a young child, obviously), nor when her (skeevy) partner came into the picture. If *I* want to know details like this, others do, too.

I also take issue with the editing (which, granted, must have been a monumental task): each episode covers such huge gaps in time that it's difficult for the viewer to know where we are in the story. For example: how did a foot fracture heal in the blink of an eye? What did the injured do during the six weeks+ of recovery: practice her voice for the entire six weeks? How on earth did she catch up with the dance routines? Did she receive physical therapy? Who paid the medical bill? I can't imagine you can get out of a boot and be back to new, let alone start back with daily training in heels.

While I fully appreciate the immense talent and importance of dancers, singers, athletes, and other performers, making this one's profession is usually folly. What percentage of dancers can support themselves without help? There is simply too much talent and too few opportunities in a field where you're a single injury away from catastrophic failure. Even if you're one of the "lucky ones" who escape an acute/devastating injury, the toll dancing/sport takes on a body can't be overstated. We only get one. In professions where the competition is so extreme, corruption is bound to occur; how can it possibly be otherwise? Also, the career lifespan of a dancer is self-limiting: how many professional dancers are there over the age of, say, 35?

I couldn't help compare this show with the Dallas Cowboys Cheerleaders (DCC) documentary: as weird and culty the DCC seem to be, I was endlessly impressed by the level of excellence, professionalism, and commitment displayed by every participant of the DCC, from top to bottom. In contrast, "The Making of a Pop Star" (MPS) feels like Amateur Hour, like no one really knows what they're doing (save the Chairman and the recording expert). Like the DCC, the MPS participants work around the clock with no days off, and for a pittance, if anything. In both cases, riches are never promised, only fame.

In situations like MPS or DCC, the ONLY people who stand to profit are the producers at the top: the performers are truly nothing more than dancing monkeys, performing not even for riches, but merely for the promise of fame. Talk about a deal with the devil! Fame neither fills your belly nor keeps you warm at night; it's both fleeting AND a double-edged sword. Did no one warn these girls?