KFC delivers epicness with Mrunal Thakur and Danish Sait in new ad
HighlightsKFC India has launched a new campaign featuring actors Mrunal Thakur and Danish Sait, showcasing their super saver offer of nine pieces of chicken for just INR 299. Aparna Bhawal, Chief Marketing Officer of KFC India, emphasized that the Epic Savers campaign aims to bring unbeatable value with the dine-in exclusive offer. Mayuresh Dubhashi, Chief Creative Officer of FCB Neo, described the campaign as a blend of fun and flavor, aiming to create a memorable experience in a competitive quick service restaurant market.
KFC has launched a new campaign for its
super saver offer
featuring
Mrunal Thakur
and
Danish Sait
.
The campaign film sees Thakur, Sait—and well everyone, losing it over the epic for 299 offers. The film kicks off with Thakur at a KFC counter, screaming with joy as the server reveals the jaw-dropping nine for 299 offer. Only for her to dramatically faint from the sheer epicness of it.
Enter Sait, channeling the ever-iconic Ramamurthy, trying to steady her – before spiraling himself when he hears the offer. Cue a chain reaction of chaos: multiple Danishs on a virtual call. A Gen Z squad. A pair of friends enjoying their crispy chicken. Everyone chanting '9 for 299!' on loop.
And outside the restaurant? Paparazzi scrambling for a glimpse of Thakur– only to be cheekily told 'Sorry, can't stay!'. Why? Because the epic deal is dine-in exclusive.
Aparna Bhawal, chief marketing officer,
KFC India
and partner countries said, 'With
Epic Savers
, we're bringing unbeatable value to the table – nine pieces of KFC's signature, finger lickin' good chicken at just INR 299.'
Mayuresh Dubhashi, chief creative officer, FCB Neo said, 'With this latest KFC campaign, we wanted to turn up the flavor — not just in our food, but in the fun. By bringing together unexpected celebrity moments and a jingle that refuses to leave your head, we've created a light-hearted, slightly unbelievable world that keeps our value proposition front and center. In a competitive QSR space, where value matters, it is key to make the offer memorable — so it's what people ask for when they walk in. The story and reactions in the film are a little bit extra — but when the offer is this unbelievable, it calls for it! It's QSR magic with a wink, and we're excited to see love pouring in for the campaign.'
Watch the video here:
View this post on Instagram A post shared by Mrunal Thakur (@mrunalthakur)
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Indian Express
5 hours ago
- Indian Express
Pakistan actor Akram Udas urges peace amid Indo-Pak cultural row, slams Iftikhar Thakur's remarks without naming him
Pakistani actor Akram Udas — best known for his role as 'Boota' in the Punjabi film Chal Mera Putt and its three sequels — has directly addressed the ongoing controversy sparked by fellow Pakistani actor Iftikhar Thakur amid heightened India-Pakistan border tensions. In a video released on Thursday titled 'Please stop this controversy, Punjab??', Udas appealed for calm and urged Punjabi artists from both sides of the border to act with restraint. The controversy began on May 2, following provocative statements made by Iftikhar Thakur in response to the Pahalgam terror attack. In a televised Pakistani talk show, Thakur issued an aggressive warning to India, saying: 'If you come through the air, you'll be blown away in the wind. If you come through the sea, you'll be drowned in water. If you come by land, you'll be buried.' The remarks drew sharp criticism from Indian Punjabi actors and filmmakers, who denounced Thakur's comments as inflammatory and called for a boycott of Pakistani actors. Since then, several Indian Punjabi cinema stakeholders — including actors, directors, and producers — have voiced concerns, triggering a backlash against cross-border collaborations that were once celebrated. Unlike Bollywood, Pakistani actors such as Thakur, Akram Udas, Nasir Chinyoti, and many others have been regularly cast in Indian Punjabi films, with all scenes of the Pak actors shot outside India and Pakistan. In his video statement, Akram Udas—seen with a portrait of Pakistan's founding father Mohammad Ali Jinnah in the background—expressed disappointment over how the issue had escalated. 'The war between the two nations is over, but now a war has begun between Punjabi brothers on both sides of the border,' he said, adding that some individuals with no connection to cinema were also issuing provocative statements. Without taking names, Udas countered claims from both sides of the border, 'If I say I'm giving you food, it's a false statement. If I say I've signed 15 of your films by taking advance money, that too is false,' he said, indirectly addressing Thakur's claims of having signed multiple Indian Punjabi films with over ₹300 crore invested in him. Punjab CM Bhagwant Mann, at a public function last month, had noted that several Pakistani actors found opportunities in Indian television and cinema due to their limited prospects at home. He mentioned working with many of them during his stint on the Indian reality show The Great Indian Laughter Challenge. Udas also took a veiled dig at Thakur's assertion that Indian Punjabi cinema cannot succeed without Pakistani actors. 'If I say Punjabi movies in India don't work without 'us,' even that is false. He could have said 'me' instead of 'us.' Did he consult the others before making that statement?' Udas asked pointedly. He continued, 'If I say all films without Pakistani actors are flops, that too is wrong. One should think about the producers who have invested so much money in upcoming projects and the many artists who've worked together in the past.' Appealing to audiences and artists, Udas said, 'Fans are on both sides. They love us and believe every word we say. My words should not hurt anyone's business, sentiments, or create cracks between communities. I urge everyone giving statements to think before speaking. Work comes to everyone as per Allah's will. We should speak in a manner that allows us to face each other with dignity. If I have hurt anyone's sentiments, I apologise.' Udas has become the first Pakistani actor to publicly criticise Thakur, who had sparked the row. Though Udas never explicitly named Thakur, the context and tone of the video point toward a rebuttal of Thakur's controversial statements. Thakur's most recent remarks have further intensified the controversy. In a viral video from last week, he claimed: 'We're the reason these films work.' He suggested that Indian Punjabi films owe their success to Pakistani actors, especially referencing the Chal Mera Putt franchise, which featured himself, Akram Udas, Nasir Chinyoti, and Indian stars such as Amrinder Gill and Simi Chahal. The fifth sequel of the film is scheduled for release in August. Thakur also asserted: 'They have no right to boycott us… It is we who should boycott them. I've already signed 16 of their films, and they've invested over ₹300 crore on me. They made nine films without casting us, and all nine were flops.' Indian Punjabi filmmaker and writer Rakesh Dhawan, who penned Chal Mera Putt, responded sharply. 'Thakur, you can't run your own household— how do you expect to run Punjabi cinema?' he remarked. 'Only the films you did with me became hits. The rest were all flops. Chal Mera Putt gave you a global identity.' He added that though one film starring Thakur has already been shot and must be released due to the producer's financial commitment, he would have preferred to sever ties. 'Had it been in my control, I'd have sent him back,' Dhawan added. Prominent Indian Punjabi actors also condemned Thakur. Binnu Dhillon called him 'an enemy,' vowing never to work with him again. Gurpreet Ghuggi said, 'Artists are supposed to build bridges, not walls. I don't think anyone in the Punjabi film industry will ever work with Pakistani actors now. He's shut the doors not just for himself, but for others too.' On May 12, in an apparent attempt to backtrack, Thakur issued a clarification claiming his comments were directed at the Indian government in the context of water disputes. However, he stirred more outrage by saying, 'Eastern Punjab (in India) is like my elder brother. We are one Punjab. I never consider Eastern Punjab as part of India.' These remarks further angered Indian Punjabi artists, who rebuked Thakur for undermining India's territorial sovereignty. 'Punjab is a jewel of India, and we are proud of it,' said Gurbhajan Gill, a Punjabi poet. Meanwhile, the row has opened up a deeper conversation about cross-border cultural exchanges and the fragility of artistic collaborations amid rising political tensions. While Indian reactions have largely remained measured, Akram Udas's balanced and peace-oriented statement has emerged as a rare voice of sanity from across the border. Concluding his message, Udas urged all stakeholders to 'move forward with understanding, not controversy.'
NDTV
9 hours ago
- NDTV
Mrunal Thakur's White Chikankari Suit Gets Summer Style Nod
Mrunal Thakur's sartorial outings are nothing short of amazing. Her wardrobe is a versatile mix of ethnic wonders, voluminous dresses, and casual everyday outfits. This time around too, the Sita Ramam actress is making a case for summer fashion in a white chikankari suit. Might we consider the occasion? It was celebrity fitness trainer, Prashant Swanat's wedding reception. Also Read: Mrunal Thakur's Pilates Routine Is All About That Perfect Side Stretch Mrunal Thakur 's all-white ensemble featured an A-line kurta, perfect for the rising mercury in Mumbai. The loose-fitted silhouette came with roomy, three-quarter sleeves. Sheer, lacey cuffs adorned with intricate floral embroidery added to the charismatic appeal. Scalloped borders on the hem of the sleeves and kurta added a further feminine element to the look. Mrunal paired the V-neckline outfit with a pair of matching straight-fit pants. A mesh dupatta adorned around her neckline sealed her simple yet elegant avatar. View this post on Instagram A post shared by Varinder Chawla (@varindertchawla) Mrunal Thakur skipped wearing any heavy-duty ornaments for the event. A delicate pair of jhumkas, minus any rings, bracelets or necklace, was the only piece of jewellery Mrunal opted for. Her minimal grace and elegance was surely bookmark worthy. For her makeup of the day, the 32-year-old actress opted for a dewy foundation with just a little amount of rosy blush adorned on her cheeks. Glossy pink-tinted lips added a pop of colour to her pretty face and offered some much-needed contrast to her monochrome look. Mrunal Thakur skipped wearing any eyeliner or kohl and simply coated her lashes with mascara. Her wavy tresses were left open while framing her face to perfection. The pristine white hue of her outfit enhances Mrunal Thakur's overall beauty. On another occassion, the actress hit the right style notes by slipping into a white anarkali. Picked out from the shelves of Krina Patel Couture, the billowy wonder had an exquisitely embroidered neckline. Floral themed mirrorwork dominated the scalloped-hem outfit, offering an extra dose of allure. Mrunal completed her traditional brilliance with a sheer dupatta, hung casually over her shoulders. View this post on Instagram A post shared by Mrunal Thakur (@mrunalthakur) Those golden jhumkas elevated the overall aesthetics of the look. A dewy makeup moment with smokey eyes and a soft lip colour was all that she needed to tie her look together. Mrunal Thakur's open brunette hair contributed to the sartorial appeal of her look. Mrunal Thakur makes chikankari come back with a bang this summer season on the fashion front.
Time of India
11 hours ago
- Time of India
Kids' TV genre still a star in the age of streaming?
The kids' genre in India is experiencing a dynamic transformation fuelled by the rise of digital platforms, changing viewer habits, and evolving advertiser interest. Whilst the explosive growth of digital platforms might suggest a diminished role for traditional television , industry data and expert opinions paint a more nuanced picture. According to TAM AdEx , ad volumes for the kids genre grew by 23 per cent in 2024 compared to 2023, and 11 per cent as compared to 2022, marking a significant resurgence after a decline in 2023. Though this indicates a fluctuating but overall positive trend in advertiser engagement with TV kids' content, the viewership of the genre declined by 25 per cent in 2024 as compared to 2023 according to industry experts. The Madison advertising report indicates that the kids' genre contributed between INR 400-500 crore to the total TV advertising expenditure in 2024. Impact of digital on TV viewership According to Surabhi Saxena, Associate Vice President – Strategy, Dentsu, today's Gen Alpha audience consumes around three to four hours of content daily, with 80 per cent of that time spent on digital platforms. Nearly 70 per cent of households with children now subscribe to at least one OTT service. She said, 'These platforms offer on-demand access, personalised content discovery, and interactive formats like YouTube Shorts and Reels.' As per Kidscan 2024, there's been a 60 per cent increase in children's online video consumption since 2022, and 69 per cent now prefer video games over outdoor play. 'This shift has had a major impact on traditional kids' TV channels . Overall genre viewership declined by 25 per cent from 2023 to 2024. Additionally, 50 per cent of H1 2024 programming consisted of renewals, reflecting a slowdown in fresh content commissioning,' highlighted Saxena. A JioStar spokesperson emphasised that despite the proliferation of OTT platforms , TV continues to be the preferred entertainment medium for kids and parents. They stated, 'Screen choices have expanded today, but we've seen that TV continues to remain the preferred choice for kids and parents alike, thanks to its professionally generated programming and brand-safe environment. That said, the rise of OTT hasn't disrupted kids' television; it has complemented it. What sets the Indian media landscape apart is not just our growth, but the way we are growing. We are not an 'OR' market but an 'AND' market, television and digital media are thriving together.' The spokesperson also highlighted that the same shows that do well on television are thriving on digital platforms as well. 'We've embraced a TV + Digital strategy because, as the nation's storyteller, we aim to meet our viewers where they are. Kids are watching what they love, regardless of platform. That's why our content strategy focuses on building homegrown IPs that seamlessly travel across platforms,' said the spokesperson. Stating a similar point of view, Ambesh Tiwari, business head, SPNI Kids and Animations, shared that the kids' genre on television continues to perform well, particularly in the urban 10+ ABC market. He said, 'Over the past three years, TV in urban markets has seen a growth of approximately 10 per cent, and kids' viewership is also growing in the eight to 10 per cent range. The number of unique viewers is increasing, and our performance is in line with overall TV trends.' He also added that major conglomerates like Sony itself are making significant investments in this space. For instance, Crunchyroll's entry into India and Sony Yay's own investments highlight how the genre is becoming a strategic focus. Despite assumptions that kids' content might struggle in a digital-first world, it's actually thriving. He also highlighted that the kids' ecosystem is becoming better defined. Pre-teen content like Cocomelon is largely consumed on YouTube, whilst characters such as Shin-chan and Doraemon draw traditional TV audiences. 'This clear segmentation helps us better cater to specific viewer needs,' Tiwari added. Whilst he agreed that digital platforms have influenced TV growth, Tiwari noted, 'Whilst the eight per cent growth we see now might have been higher in a pre-digital world, the digital ecosystem has also fuelled fandoms. Much of the engagement like memes, reactions, and fan theories happens on platforms like YouTube and Instagram, but the core content still resides on TV or OTT platforms. This synergy has helped us market our content more organically.' Impact on ad revenue Mayank Shah, VP, Parle, emphasised the critical importance of the kids' genre for the brand, noting that over 60 percent of Parle's portfolio, particularly confectionery and some biscuits, targets children. Shah acknowledges a slight decline in traditional TV viewership among this demographic. He attributes this shift to Gen Z and Gen Alpha being a mobile-first generation. A significant portion of their media consumption, including gaming and kids' content, now occurs on mobile devices. 'TV still is an important medium to reach consumers and we don't see that changing for at least for next five years,' said Shah. According to Saxena, whilst linear TV ad spending for the kids' genre remains under-indexed with declines across Disney (15 per cent), Nick (20 per cent), Hungama (30 per cent), and Sony YAY (15 per cent) from 2022 to 2023, budgets are increasingly being redirected to digital. She highlighted, 'This is supported by a global slowdown in kids' content commissioning, suggesting budget shifts. Platforms like YouTube, gaming apps, and OTT zones are attracting influencer marketing budgets, contextual digital ad buys, and cross-platform campaign activations and drawing significant attention from marketers. Thus, whilst the ad spend may still be under-indexed on traditional TV, the genre is rapidly gaining relevance across newer digital formats.' In India, digital ad spend is growing at 17 per cent year-over-year and is projected to reach INR 700 billion in 2024 and INR 1,104 billion by 2027, as per EY-FICCI 2025 report. A JioStar spokesperson shared that the kids' genre continues to be under-indexed in terms of ad spends, but brands from flat categories are scaling up their spends because kids' content now offers measurable ROI in a brand-safe and integrated way. 'This genre presents an opportunity not only to reach kids but also parents due to significant co-viewing. JioStar's kids' portfolio enjoys a 55 per cent co-viewing rate, influencing purchasing decisions in the household.' Tiwari highlighted that there has been a decline in advertiser count, especially after some brands like HUL paused advertising on kids' content. 'However, we're adapting by offering customised solutions to advertisers. FMCG still dominates the space, with successful campaigns such as ITC's Shin-chan juice packs and KidZania partnerships. Whilst categories have become fragmented, FMCG remains central.' According to the TAM AdEx report for the kids' genre, FMCG brands notably dominated advertising in 2024. Reckitt Benckiser (India) leads with a 25 per cent share, followed by Hindustan Unilever at 20 per cent, and Godrej Consumer Products with an eight per cent share. Beyond traditional ad revenues To secure sustained growth in India's dynamic kids' genre, content providers are strategically looking beyond conventional advertising. Tiwari highlighted a significant shift in traditional FCT ad sales, once constituting 95-99 per cent of revenue, now accounting for only about 50 per cent. The remaining half for them is generated from diverse non-FCT avenues. This includes successful events like the Giant Wheel Festival in Mumbai, a growing focus on licensing and merchandising, and various gaming and IP extensions like Kiko Super Speedo and music collaborations. Tiwari emphasises a commitment to 360-degree solutions and the critical role of IP monetisation across platforms, noting that for kids' channels, IP is the hero. Overall, roughly 40-45 per cent of total revenue stems from distribution, with the remaining 55-60 per cent split almost evenly between traditional advertising and these new, diversified streams. This diversification is well-aligned with evolving advertiser perceptions. A JioStar spokesperson notes that the kids' genre is now viewed not just as a mass reach play, but as a contextual engagement platform, where brands leverage popular characters for both awareness and emotional connection. The 'Super Funday' feed for IPL matches on JioHotstar, featuring iconic Nicktoons as commentators, exemplifies this integrated approach. Saxena further underscores the importance of these broader engagement strategies, driven by Gen Alpha's growing influence on household decisions (influencing 90 per cent of buying decisions and a 1.46X increase in smart TV purchase involvement). This influence is prompting a clear shift in investment towards digital platforms, where co-viewing scenarios are highly effective as its driving 50 per cent higher purchase intent. OTT platforms also strategically invest in kids' content to reduce churn. Consequently, advertisers are increasing investment in influencer-led content, branded entertainment, and kid-safe programmatic advertising, all contributing to new growth avenues beyond conventional FCT. Future of Kids genre Shah believes TV networks must reinvent themselves with compelling content to attract Gen Z and Gen Alpha. Without this shift, these younger generations accustomed to instant digital access are likely to become 'cord-cutters' consuming media almost exclusively on mobile devices. He said, 'This underscores the urgent need for television to adapt its strategy not just in terms of content, but also in delivery methods that resonate with a demographic raised on digital entertainment.' Tiwari emphasised that the future of the kids' genre lies in recognising its core strength which is IP. As global leaders like Disney have shown, the key is to develop strong IP that can be monetized across multiple platforms, far beyond traditional advertising. 'In this evolving landscape, television's role shifts from being a simple FCT sales platform to a powerful amplifier of IP. While FCT sales still hold value, the true potential lies in diverse revenue streams like merchandise, experiences, and brand extensions built on well-established IP,' he concluded.
