MAM
Khushwant Singh: The man with good-intentioned malice towards all, signs off
NEW DELHI: ‘With Malice towards one and all’ was a rare title for a weekly column. He had seen India grow from being a country ruled by the British to a freedom tainted by corrupt politicians and technocrats. Only he could have had the courage to speak out so bluntly.
Renowned author and columnist Khushwant Singh, who is remembered not only for his weekly knife-edged columns but also his ability to laugh at himself, passed away Thursday morning, aged 99.
He was married to Kawal Malik. He is survived by his son Rahul Singh and daughter Mala. Actress Amrita is the daughter of his brother Daljit Singh and Rukhsana Sultana.
He stayed in “Sujan Singh Park” near Khan Market, New Delhi’s first apartment complex built by his father in 1945 and named after his grandfather.
He founded the Planning Commission journal Yojana, and also served as the editor of the Illustrated Weekly of India, the National Herald, and the Hindustan Times.
Apart from his columns and poems, he is remembered for one of the best novels based on the partition of the country –Train to Pakistan – which was converted into a very moving and poignant film years later.
Not surprisingly, he titled his autobiography as “Truth, Love, and a Little Malice” and this was published in 2002.
Singh was awarded the Padma Bhushan in 1974, an award he returned in 1984 to voice his protest against the siege of the Golden Temple in Amritsar. Later in 2007, he received the Padma Vibhushan, the second highest civilian honour in the country.
He also served as a member of the Rajya Sabha from 1980 to 1986 and
Even though he could be very pungent and acidic in his criticism, he never gave up humour in his writings. His comparisons of social and behavioral characteristics of Westerners and Indians are laced with acid wit.
Singh was born on 2 February 1915 in Hadali in District Khushab in the then undivided Punjab, which is now known as Sargodha district and is in Pakistan. His father Sir Sobha Singh was a prominent builder and is credited with the design of the present-day Connaught Place and many parts of Lutyens’ Delhi. His uncle Sardar Ujjal Singh (1895–1983) was Governor of Punjab and Tamil Nadu.
He was educated at Modern School, New Delhi, Government College, Lahore, St. Stephen’s College in Delhi and King’s College London, before reading for the Bar at the Inner Temple.
During his tenure, The Illustrated Weekly (now extinct) became India’s pre-eminent newsweekly with its circulation rising from 65,000 to 4,00,000 copies. Known for his penchant criticisms, he was asked to leave the journal on 25 July 1978, a week before his retirement, after working for nine years in the weekly. This led to a major drop in readership of the weekly.
His works ranged from political commentary and contemporary satire to outstanding translations of Sikh religious texts and Urdu poetry. Despite the name, his column “With Malice Towards One and All” regularly contained secular exhortations and messages of peace. In addition, he is one of the last remaining writers to have personally known most of the stalwart writers and poets of Urdu and Punjabi and profiled his recently deceased contemporaries in his column.
He had often been accused of favoring the ruling Congress and was known to be close to the then Prime Minister Indira Gandhi. His faith in the Indian political system had been shaken by events such as the anti-Sikh riots that followed Indira Gandhi’s assassination. But he has remained resolutely positive on the promise of Indian democracy and worked via Citizen’s Justice Committee floated by H. S. Phoolka who was a senior advocate of Delhi High Court.
His many books include The Mark of Vishnu and Other Stories (1950), The History of Sikhs (1953 with a revised edition in the early sixties and a second edition in the late sixties),Train to Pakistan (1956), The Voice of God and Other Stories (1957), I Shall Not Hear the Nightingale (1959), The Sikhs Today (1959), The Fall of the Kingdom of the Punjab (1962), Ranjit Singh: The Maharajah of the Punjab (1963), Ghadar 1915: India’s first armed revolution (1966), A Bride for the Sahib and Other Stories (1967), Black Jasmine ( 1971), Tragedy of Punjab (1984) Women and Men in My Life (1995), Uncertain Liaisons; Sex, Strife and Togetherness in Urban India (1995), Why I Supported the Emergency: Essays and Profiles ( 2009) and Delhi: A Novel (1990). In addition, he had several anthologies of short stories, and wrote the television documentary Third World – Free Press for a British channel in 1982.
Apart from the Rockfeller Grant, he had received the Honest Man of the Year award from Sulabh International, the Punjab Rattan award from the Punjab Government, and the Sahitya academy fellowship of the Sahitya Akademi.
Often a butt of jokes for his attitude towards women and sex, Khushwant did not lose his sense of humour even after he had stopped actively writing or socialising. He will remain an icon for the modern Indian writers who often emulate his style to gain popularity.
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.
