Two Indian-origin singers Lara Raj and Ezrela are among the 20 contestants vying for a shot at stardom as they compete to become a part of a new global girl group, South Korean music giant HYBE and American record label Geffen Records have announced.
Hybe, which manages the global K-pop group BTS through Big Hit Music, and Geffen Records, a subsidiary of Universal Music Group, had announced their joint venture in November 2021.
More than 120,000 submissions were received before a list of 20 contestants was finalised for an audition program, called The Debut: Dream Academy, the two companies announced on Monday during a live-stream event aired from IGA Studios in Santa Monica.
The new global group, whose name will be unveiled later, will be created and modelled based on the world-renowned K-pop training and development system, under which the contestants have been quietly training over the last year in Los Angeles.
Introducing herself at the press event, Lara said, "Hi, I am Lara Raj. I'm 17 and I'm Indian from LA." In 2019, Raj was also part of former first lady Michelle Obama's campaign Global Girls Alliance "Day of the Girl".
Ezrela, 20, introduced herself as an Indian from Australia.
The contestants will be trained for a year and the whole process will be the subject of an upcoming untitled Netflix documentary series.
It will be directed by award-winning filmmaker, Nadia Hallgren, who was at the helm of the Netflix documentary, "Becoming". The series produced by Hybe, Interscope Films, and Boardwalk Pictures, is set to premiere in 2024.
The audition program will begin airing on YouTube from September 1, and run for nearly three months before the final group is decided during the audition’s finale on November 17.
The global girl group will also be integrated into the South Korean social media platform Weverse, allowing fans to closely follow the transformative journey of the 20 contestants in the audition program.
"I have wanted to form an international group based on K-pop methodology for a while. To do this I believed we needed a capable partner. When I met John (Janick), from the first moment, we both felt instantly that we had a connection, musically and creatively.
"I am very proud of the rich history we have made and the tremendous talent we have found. I am proud of the opportunities we have created within the K-Pop universe," Hybe Chairman Bang Si Hyuk said in a statement.
John Janick, the chairman and CEO of Interscope Geffen A&M, said he is hopeful the competition will bring to life a first-of-its-kind experience in music.
"Since we began our partnership two years ago, Bang and I have often spoken about our shared beliefs in artist development, music, and creativity. To develop a global group with Bang, with the best of K-Pop methodology, and our Geffen team, is truly special and will bring to life a first-of-its-kind experience in music.
"Each candidate is incredibly talented, dedicated, and driven, making this an exciting moment for music fans around the world," he said.
Alongside fan voting, a panel of experienced evaluators will offer valuable feedback and guidance to the contestants, playing an essential role in shaping the growth and development of these talented young women, a release said.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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