MAM
Pizza Hut launches first campaign with internet celeb Bhuvan Bam
MUMBAI: In a complete brand refresh, India’s leading pizza chain Pizza Hut’s new campaign announced a bold & fun campaign using internet star, Bhuvan Bam, being hypnotized by the delicious range of pizzas.
Conceptualized by Creativeland Asia, the new TVCs have one of India’s most popular Youtubers Bhuvan Bam (BB Ki Vines) getting into a frenzy the moment the thought of a pizza comes to his mind. The craving is unstoppable, and you see Bhuvan walking, rather grooving, his way – as the crow flies – straight to a Pizza Hut.
With the refrain Pizza Hut Javenge 99 Mein Khaavenge, The campaign is centered around the brand’s boldest value offering since it entered the Indian market in 1996 – ie offering the tastiest pan pizzas at affordable everyday price-points across its channels of dine-in, delivery and takeaway, starting at INR 99 and INR 199.
Directed by veteran ad film guru, Prahlad Kakkar and produced by Creativeland Pictures, this the first time a digital influencer will star as the main protagonist in a TV commercial by a leading QSR brand in the country. The national campaign breaks on 14th November across key markets in a range of languages across television and digital media. The campaign will be supported by plenty of social and on ground + digital activities.
“We’ve always believed it is critical to stay on-trend as a fun, cool pizza company– this campaign is setting an entirely new tone for Pizza Hut, and it’s a really whacky and innovative piece of communication. It highlights the craving that the thought of a pizza triggers in the mind. The song has the words ‘Pizza Hut Javenge’, using an interesting colloquialism and is extremely catchy. We particularly love the dance-step that was co-created with Bhuvan on the shoot set. Overall, it’s a very entertaining piece of content highlighting the Rs.99 price point- and we believe it will really resonate with audiences – both young, and young-at-heart!”, said Pizza Hut India Marketing Director Yashodhara Lal.
“In a world of insta-stories and tiktok videos today, where we are no longer just competing with other ads, brave new narratives are as important as grounded insights. At Creativeland Asia we are constantly watching, learning, reinventing and bettering ourselves to deliver the newest thinking we possibly can. Our brief was to conceptualize a campaign driving the 99 price-point while keeping true to the brand’s promise of the most craved-for pizza experience. Pizza Hut Javenge 99 Mein Khaavenge, with Bhuvan Bam getting triggered by anything that remotely sounds like pizza is a very surprising take that designed to keep both the price point and the brand top of mind.”, said Creativeland Asia Founder and Creative Chairman Sajan Raj Kurup.
“This campaign also brings to the spotlight our dine-in experience, even as we continuously drive growth through delivery with pizzahut.co.in’, added Lal. ‘Overall, this marks a fresh new direction for Pizza Hut, and we’ll increasingly be celebrating our unabashed obsession with pizzas!”
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.
