MAM
ITC’s YiPPee! Better World: Create magic transforms plastic waste into playgrounds
Mumbai: Multi-business conglomerate ITC Ltd’s YiPPee!, has announced the launch of a new campaign “YiPPee! Better World: Create Magic”, highlighting a new waste upcycling initiative programme under its banner aimed at refurbishing city parks with park equipment (like swings, jungle gyms etc.) made from upcycled plastic waste collected through large-scale awareness & plastic waste collection drives by the brand.
The creative rendition for the campaign was done by Ogilvy. The creative is aimed at portraying the impact of this massive plastic collection drive visually. The creative execution shows park rides made with discarded plastic. Also, in exchange for plastic waste, YiPPee! is giving the consumers the power to choose the park they want to ‘transform’. So, by organizing this mass participatory sustainability drive, YiPPee!, true to its brand ethos, intends to put more power in the hands of the consumers by giving them the right to choose.
City parks serve as the vibrant core of our neighbourhoods, especially for kids. They echo with children’s laughter, foster friendships, and inspire dreams. YiPPee!, as a brand, embodies the essence of joyful enthusiasm. With this fresh campaign, the goal is to align the brand’s ethos of promoting awareness of plastic waste management practices with the sheer delight of playing in outdoor areas. YiPPee!’s commitment to this endeavour goes beyond sustainability; it’s about fostering a community that cherishes and nurtures a responsible tomorrow.
The brand recognises the urgency of addressing the plastic waste crisis while keeping in mind that people need to see the immediate, tangible benefits of their efforts. That’s why this initiative is not just about upcycling plastic; it’s about revitalising city parks.
The initiative follows an innovative two-pronged approach for maximum impact:
Upcycling Plastic Waste: Converting plastic waste into colourful playground equipment, from swings to jungle gyms. With sustainability at the core of this endeavour, the aim is to give a second life to discarded plastic materials.
Community Involvement: The success of this initiative lies in the hands of the community. It involves conducting large-scale awareness and plastic waste collection drives, rallying the larger community to participate in the movement. Bringing individuals together for a common cause to create magic in the lives of our children.
“YiPPee! Better World: Create Magic” initiative, focuses on cities of Delhi-NCR, Mumbai, Bangalore, and Kolkata aiming to create magic in children’s lives and tackle the problem of plastic waste while envisioning a future where playgrounds are not just a place to play but a symbol of the collective commitment of entire society to a sustainable and joyful future.
ITC, overall as an organisation, has sustained its plastic neutrality status for the second year in a row by implementing an integrated solid waste management programme that incorporates unique and multi-dimensional initiatives. The Company’s flagship waste management initiative that focuses on ‘ITC WOW – Well Being Out of Waste’ reaches out to 2.2 crore citizens. In FY 2022-23, the Company collected and sustainably managed more than 60,000 tonnes of plastic waste across 36 States and Union Territories. ITC has also been a solid waste recycling positive enterprise for over 16 years.
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.
