MAM
PepsiCo’s iconic brands turn up the heat in Sizzlin’ Hot TVC
Mumbai: Flaming up the snack aisle, PepsiCo India, one of the leading players in snack and beverage industry, has introduced a new TVC to celebrate the expansion of its Sizzlin’ Hot platform. This fiery TVC features the complete Sizzlin’ Hot range including Lay’s, Kurkure, and Doritos while highlighting the irresistible heat-packed experience each product offers.
Sizzlin’ Hot taps into the deep affinity Indians have for ‘chilli’ and offers a spicy sensation, tailored for each iconic brand within PepsiCo’s salty snack portfolio. Following the success of Lay’s and Doritos Sizzlin’ Hot in India, Kurkure recently joined the fiery lineup, introducing its own Sizzlin’ Hot variant that infuses ‘chilli ka tadka’ with Kurkure’s iconic crunch.
The TVC brilliantly portrays a spectrum of reactions that unfold when people snack onto the irresistible Sizzlin’ Hot range. Set against a captivating backdrop of diverse scenes, including cozy living rooms, bustling offices, and vibrant public spaces, each moment captures their unfiltered, spontaneous responses to the fiery spiciness. From frantically searching for something cool to shedding tears and energetically sprinting in search of relief, this engaging sequence of genuine and humorous reactions serves as a mirror, reflecting the surprise that awaits anyone who takes their first bite of Sizzlin’ Hot.
Commenting on the Sizzlin’ Hot range expansion and launch of the TVC, PepsiCo VP and foods category head of India and South Asia Anshul Khanna said, “Last year, we introduced one of our most successful global platforms, Sizzlin’ Hot in India and have witnessed an overwhelming response. As we approach the festive season, we’re thrilled to announce the expansion of the platform with localised flavours for the unique Indian spice palate across our beloved brands, including Lay’s Maxx, Kurkure, and Doritos Dinamita. The launch will be accompanied by a comprehensive 360-degree marketing campaign that is sure to get people to intrigued about the fiery range. We hope that consumers love this new range and continue to spice up their snacking occasions.”
“The Sizzlin’ Hot flavour is available in 3 formats – Kurkure, Lays and Doritos. No matter which one you pick up, the fiery taste is likely to make you react in unexpected ways. From fiery exclamations to bizarre sounds, the execution of the TVC brings together a gamut of expressions in a way that you can’t help but watch it again. Pretty much like the product, that you can’t help but eat another”, added Leo Burnett India national creative director Vikram Pandey (Spiky).
Sizzlin Hot’ range is available in Lay’s, Kurkure and Doritos across all leading retail and e-commerce platforms in India. The TVC will be supported by a robust 360-degree surround campaign.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
