TikTok on TV – Pepsi Uzbekistan 2021 | Clapboard Ad Archive

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TikTok on TV - Pepsico | Clapboard Ad Archive

Pepsico’s TikTok on TV campaign, developed by Synthesis for the Uzbekistan market in the Food & Drink category in 2021, stands as a sharp lesson in media adaptation, fusing the compulsively engaging vernacular of digital-native TikTok challenges with the enduring primacy of television in the region’s media landscape to deliver a new model for brand engagement at scale. Rather than settle for the conventions of either traditional broadcast or in-feed social video, the campaign bridges the two by commissioning six TikTok-inspired challenges, each fronted by popular local creators and matched with custom soundtracks, then translating their visual grammar and participatory logic directly onto the country’s most-watched screen. In a market where youth culture is defined online while television still commands the largest daily reach, this hybrid content strategy allowed Pepsico to spark creative consumer participation — viewers were prompted to create and upload their own Pepsi-branded challenge responses on TikTok using the designated hashtag, with the potential reward of seeing themselves broadcast to a mass TV audience. The result: a surge of organic engagement as the #pepsiuzbekistan hashtag achieved 34.5 million views, and the brand's TikTok following ballooned by 31,000, illustrating how the mechanics of virality and peer-to-peer influence could be harnessed to animate a brand proposition in a way that feels native to both media environments. What Clapboard’s taxonomy would classify as FORMAT#12—Parody or Borrowed Format—the campaign intentionally adopts the aesthetics, cadences, and social architecture of TikTok and overlays them on television, not simply as a nod to youth culture but as a deliberate act of pop culture borrowing, transforming a global digital phenomenon into local mainstream entertainment. This deliberate interplay between media channels and pop formats demonstrates a sophisticated understanding of both behavioral context and creative craft, leveraging the strengths of each environment to multiply audience touchpoints and foster real participatory equity with the brand. Clapboard rates this 63/100. In demonstrating how a global pop format can be purposefully adapted to local platform realities, this campaign signals a way forward for marketers seeking to fuse mass reach with social resonance in markets where the lines between traditional and digital remain in constant negotiation.

Credits

Client

Pepsico

Agency

Synthesis

Creative Director

Farrukh Sharipov

Account Management

Anna Aleksandrovna

Art Director

Tamila Mirzaeva, Timur Aitov, Kristina Gorobtsova

Strategic Planner

Alina Mirzaeva

Category Mind Map

48%

The "TikTok on TV" campaign by Pepsico, developed by Synthesis for the Uzbek market, leverages the strong cultural relevance of television alongside the rapidly growing social media platform TikTok to enhance brand engagement. Recognizing that television remains the dominant media channel in Uzbekistan, the campaign bridges traditional and digital platforms by introducing TikTok-style content to TV audiences. Pepsico’s proposition centers on inclusivity and creative participation, inviting consumers to engage directly with the brand through user-generated content tied to branded challenges, thus amplifying Pepsi’s presence both online and offline. The campaign’s market strategy capitalizes on the widespread popularity of TikTok among younger demographics while acknowledging regional media consumption habits. By filming six TikTok challenges with popular local creators and producing original soundtracks, the campaign fosters an interactive experience where participants can contribute their own videos for a chance to be featured on television. This dual-platform approach effectively blends digital virality with traditional broadcast reach, creating a compelling value exchange for consumers. The designated hashtag (#pepsiuzbekistan) served as a rallying point, driving substantial organic engagement with 34.5 million views and a significant rise in the brand’s TikTok followers and engagement metrics within a month. Overall, the campaign demonstrates a nuanced understanding of local media landscapes combined with global digital trends, using participatory content to deepen brand affinity and broaden audience reach in Uzbekistan.

FORMAT#12 PARODY OR BORROWED FORMAT — Uses or parodies pop culture formats like films, shows, or genres. This campaign most closely aligns with FORMAT#12: it deliberately adopts the recognizable visual and participatory language of TikTok content and challenges, intentionally bringing a digital-native, social media format to television. The execution isn’t driven by a traditional story arc, testimonial, or direct product demonstration, but rather “borrows” TikTok’s format—complete with popular TikTokers, challenges, and user-generated content—as its core creative device. The strategic blending of media genres and the transfer of TikTok’s pop culture vernacular to TV defines this as a classic borrowed format campaign. ADVERTISING FORMATS EXPLAINED: https://www.clapboard.com/blog/branding-and-advertising/brand-strategy/12-advertising-creative-formats

1. Coca-Cola – Market Positioning Coca-Cola leverages its global brand heritage and emotional storytelling to position itself as the quintessential, feel-good beverage. It focuses on universal themes of happiness and togetherness, maintaining strong distribution and visibility in Uzbekistan’s urban and rural markets, with localized campaigns blending global appeal and local culture. 2. Nestlé Waters – Market Positioning Nestlé Waters positions itself around purity, health, and wellness through its bottled water brands. It targets health-conscious consumers by emphasizing natural and safe hydration options, tapping into growing trends of wellness and premiumization in the Uzbekistan beverage market. 3. Red Bull – Market Positioning Red Bull distinguishes itself as the energy drink pioneer focused on youth culture, active lifestyles, and extreme sports. It builds a high-energy, adventurous brand image tailored to young urban consumers seeking performance and excitement in Uzbekistan’s growing active segment. 4. Coca-Cola Company’s Fanta – Market Positioning Fanta targets a younger demographic with vibrant, fun, and fruit-flavored soda options. It uses colorful, playful marketing and localized flavors to appeal to teens and young adults who favor variety and social experiences in their beverage choices. 5. Afzal (Local brand) – Market Positioning Afzal is a regional player in Uzbekistan that emphasizes affordability and traditional flavors in its non-alcoholic drinks portfolio. It appeals to price-sensitive consumers by maintaining widespread availability and aligning its products with local taste preferences and cultural familiarity.

Q: What is TikTok on TV about? A: TikTok on TV is a 2021 campaign created by Synthesis for Pepsico, specifically targeting the Uzbekistan market. The campaign’s central idea was to bridge the country’s dominant television culture with the viral energy of TikTok by bringing TikTok-style challenges to broadcast TV. Six challenges featuring popular local TikTokers were filmed, each with its own original soundtrack, and viewers were invited to participate by creating their own videos using a designated hashtag for a chance to appear on television. The campaign generated significant digital engagement, positioning Pepsi as a brand at the intersection of traditional and digital media in Uzbekistan. Q: What creative device does TikTok on TV use? A: TikTok on TV employs FORMAT#12 PARODY OR BORROWED FORMAT, as classified by Clapboard’s 12-format taxonomy. This approach involves adopting the recognizable visual language and participatory mechanics of TikTok content—such as influencer-led challenges and user-generated videos—and translating them for television audiences. Rather than relying on traditional storytelling or direct product demonstrations, the campaign borrows the pop culture vernacular of TikTok, blending digital-native formats with broadcast media. This strategic fusion of genres exemplifies the borrowed format, creating a campaign that feels both familiar and innovative within the Uzbek media landscape. Q: What is the campaign proposition for TikTok on TV? A: The campaign proposition for TikTok on TV centers on inclusivity and creative participation, positioning Pepsi as a brand that invites consumers to engage directly through user-generated content. By leveraging the popularity of TikTok among younger audiences while acknowledging television’s continued dominance in Uzbekistan, the campaign encourages viewers to join branded challenges and share their own videos for a chance to be featured on TV. This strategy not only amplifies Pepsi’s presence across both digital and traditional platforms but also fosters a sense of community, making the brand more relevant and accessible to a broad spectrum of consumers in the local market. Q: How does TikTok on TV rank in Clapboard's archive? A: TikTok on TV holds a Clapboard Campaign Score of 63/100 in Clapboard’s global ad archive. This score reflects the campaign’s creative ambition, execution quality, and cultural relevance as assessed by Clapboard’s curatorial standards. Q: Who are the competitors in Pepsico's category? A: In Uzbekistan’s non-alcoholic drinks market, Pepsico faces competition from several key brands. Coca-Cola leverages its global heritage and emotional storytelling to position itself as the feel-good beverage of choice, while Nestlé Waters appeals to health-conscious consumers with a focus on purity and wellness. Red Bull targets young, active consumers by associating with extreme sports and high-energy lifestyles, and Fanta attracts teens and young adults through playful marketing and fruit-flavored options. The local brand Afzal competes on affordability and traditional flavors, resonating with price-sensitive consumers who value cultural familiarity.