Interesting concept, and some great lines (I particularly like, "Terrorist? I'd prefer if you refer to me as Super Criminal" -- that gets at the heart of the character, that he's just doing this to play a particular role in a game; plus, it's funny, kind of Seinfeldy neuroses about things that don't matter).
I do think that this story might skirt the rules of non-interference with the original material. If this genuinely happened, I'd expect that some character somewhere else in the book might have mentioned in. It's too big: a major news anchor, images of the President, etc. It also seems unlikely that he would spend five years tracking this person who is not a 'worthy adversary,' and then dismiss her so quickly. It again seems against type: Nemesis wants to play a certain game, of 'goodies v baddies,' and she doesn't seem to be a part of this game; and he spends a long time terrorising his victims, not five minutes.
The other thing is that I think you needed to do more research. This is a point I often raise, but it's one I notice in myself so perhaps that's why I'm prone to bring it up. I've just written four-five sentences of a newscast for a script that I'm doing, and I spent days listening to old footage to try and get a sense of how telecasters speak. I've also studied this a bit in my youth, and looked up a few instructional websites as a refresher as well. I think something like this would have been beneficial for you. What interviewer, for instance, would open an interview with such a broad question as, "Why are you doing this?"
(I also didn't see how she knew they weren't on air just because Nemesis says that tonight they won't be peddling propaganda.)
So, some nice things in there, but for next time I'd say 1) Consider more how to keep your story from interfering with Mark's narrative, in terms of both character and plot, and 2) research any elements of your story that you're not already very conversant with.
Hope that helps!