The Alan Cumming-backed Block the Merger coalition has submitted evidence to the UK Culture Secretary over why the Paramount-Warner mega-merger should be blocked.

Four of the groups that make up the coalition said they provided Culture Secretary Lisa Nandy with “market data and first-hand professional evidence as she determines whether to intervene.”

UK parliament is now in recess for the summer and Nandy, who has already said she is “minded to intervene,” will not deliver her decision until September 1 at the earliest. Since the recess, the $110B merger has slammed the brakes in the U.S. after 12 States sued.

The Block the Merger organizations, which are the  Archival Producers Alliance, the International Documentary Association, the UK’s Documentary Film Council and Democracy Defenders Fund, complained WarnerMount become the third largest linear broadcaster in the UK before HBO Max’s “rapid growth” is even taken into account.

They also put forward the argument that for the first time the CNN and CBS News archives, two of America’s most historically significant broadcast news archives, will be under a single owner, “directly impact UK documentarians’ ability to tell diverse stories.”

“As the coalition has made clear, this merger is not a done deal, and filmmakers, journalists, archive producers, unions, and consumer advocates on both sides of the Atlantic will keep working to make sure it never is,” the organizations said.

The news comes two weeks after The Traitors host Cumming posted a vid backing Block the Merger in which he said WarnerMount would “all [be] answering to a giant conglomerate beholden to Donald Trump, autocrats and oligarchs.”

A few days later he co-authored an op-ed with Benedict Cumberbatch describing the deal as a “calamity.”

The UK opposition to the deal has been vehement as both American congloms have a far-reaching footprint, including linear network 5 (previously Channel 5) and numerous production outfits. The European Union gave the merger the greenlight last week.

EXCLUSIVE: Katie O’Connell Marsh has been named Fremantle‘s next global scripted boss, Deadline can reveal.

Baywatch and M. Son of the Century producer Fremantle has been seeking out a UK-based executive to effectively replace Christian Vesper, the CEO of Global Drama and Film who exited his post in January.

Following an extensive hiring process that attracted top tier scripted candidates, former Gaumont International Television and Platform One chief O’Connell Marsh emerged as the front runner, according to several sources, and she has now officially landed the role.

Her official title of will be CEO, Fremantle Global Scripted Hub, a newly-created drama and film division. She will take up the role in August. Given she is currently U.S.-based, she will relocate to London.

O’Connell Marsh will report to Andrea Scrostati, Fremantle’s Group COO and CEO Continental Europe, with a dotted line to Jens Richter, CEO Commercial and International, and will sit on the Global Leadership Team.

Part of the move is creation of the Fremantle Global Scripted Hub, which will provide creative, commercial and strategic direction across Fremantle’s scripted labels. She will work closely with local teams, share best practice and build a connected global scripted business across drama and film.

Additionally, O’Connell Marsh will oversee Fremantle’s annual scripted investment budget, recommending spend in projects and selected third-party opportunities. She will also work closely with Richter’s Commercial & International team on sales forecasts and commercial analysis to support investment decisions.

O’Connell Marsh, a veteran scripted exec who has U.S. and international experience, has a reputation for backing premium, commercially-driven series such as Netflix crime drama Narcos and Apple TV’s Invasion. Her work as an exec producer on Narcos helped establish the notion that non-English language dramas were palatable to global streaming audiences.

In 2010, she established Gaumont International Television, the U.S. arm of French studio Gaumont. There, she produced the likes of Netflix series Hemlock Grove, NBC’s Hannibal and animated streaming comedy F is for Family.

O’Connell Marsh later had a short spell at DreamWorks Animation as Head of Global Live Action TV before establishing Platform One, which made Apple TV’s Invasion and Showtime’s Rust. She then became Vice Chair of Boat Rocker Studios after Canadian firm Boat Rocker bought Platform One. Most recently, she has been an exec producer for Apple and board member at EuropaCorp, while also advising Bain & Company.

“We are delighted to welcome Katie to Fremantle as our new CEO of the Global Scripted Hub,” said Scrosati. “She is a highly accomplished, passionate and commercially astute executive with a deep understanding of global audiences and market trends.

“She joins us at an incredibly exciting time as we continue to build on the strength of our diverse scripted slate, our award-winning creative labels, and the exceptional talent both on and off screen, that defines our scripted business. Her creative instincts, strategic vision and proven ability to attract and nurture world-class talent will be invaluable as we continue to grow our scripted business and further strengthen Fremantle’s position as a global leader in premium storytelling.”

Her predecessor, Vesper, spent nearly a decade with Fremantle, striking a range of talent deals and developing shows from the upcoming Baywatch TV revival to more complex fare such as My Brilliant Friend, The New Pope and The Luminaries. He also led a push into feature film making and exec produced movies such as Pillion, Poor Things and Bugonia. Fremantle released 80 pics during his tenure.

Vesper was also based in London and reported to Fremantle Group COO and CEO for Continental Europe Andrea Scrosati, who has since been leading the film and drama teams on an interim basis alongside the wider management teams at those units.

“I am thrilled to be joining Fremantle at such an exciting time,” said O’Connell Marsh. “I have long admired the strength of its creative vision, its exceptional scripted labels and the critical acclaim achieved across its world-class slate. Fremantle has built a truly unique home for storytellers, combining creative excellence, outstanding talent and global ambition.

“As the industry continues to evolve, the greatest opportunities will come from bringing together exceptional talent, international collaboration and a commercially driven approach. I am especially looking forward to working closely with Jennifer Mullin, Andrea Scrosati and the outstanding teams across the business to build on Fremantle’s success and help shape the next chapter of growth for its scripted business.”

Strategic review

Fremantle is best known for entertainment formats such as Got Talent, The X Factor and Pop Idol, but has expanded into scripted through the likes of Maxton Hall: The World Between Us, My Brilliant Friend, Sandokan: The Pirate Prince and Sullivan’s Crossing. Production companies within the group have been responsible for shows such as the Deutschland… franchise, Normal People and Shtisel, and films including Pillion, The Hand of God and Poor Things.

In March, Fremantle’s parent company, RTL, revealed the results of a strategic review amid falling revenues, with cost saving plans announced at Fremantle and RTL Deutschland. Among the measures was a decision to stop fully financing films, but sources within Fremantle insist it remains a player in the movie space. With her TV background, it is not clear how extensively Marsh’s role will cover film.

Fremantle is attempting to navigate and increasingly complex and competitive global market. Rivals Banijay Entertainment and RedBird IMI-owned All3Media completed their merger earlier this month, and now claim the combined entity is the largest independent production business ever created, while ITV Studios is set to become a solo player when its parent, ITV, is sold to Sky. Mediawan has bought the likes of The North Road Company and, along with Banijay, has been tipped to buy Lionsgate, while many expect ITV Studios to be a takeover or merger target, though its bosses have claimed it would not need a “transformational deal” that would combine its assets with another such as Fremantle.

Well-placed sources in Europe have suggested that Bertelsmann-owned RTL look at how Fremantle operates once former Warner Bros. Discovery exec Clément Schwebig fully gets his feet under the table at RTL.

Schwebig replaced the long-serving Thomas Rabe as RTL CEO in May, as Fremantle posted steady but unspectacular Q1 revenues of €372M ($423M). Rabe remains Chairman and CEO of Bertelsmann, but is set to exit at the end of the year.

ITV Studios bosses are remaining bullish in the face of declining U.S. and international revenues as the Love Island maker prepares to be unleashed onto the market.

Of concern for ITV Studios, this morning’s ITV half-year results showed a 17% revenue decline in the U.S. and a 24% slide internationally, reflecting a reversal of previous fortunes.

On a results call with press, ITV Studios chief Julian Bellamy put this mainly down to a “softening of demand” in the free-to-air space and said it “underlines the broader importance” of the producer-distributor pushing further into making shows for streamers and developing its Zoo 55 digital arm.

“Let’s not forget, we’re on the up,” Bellamy said bullishly, as he pointed out that overall ITV Studios revenues grew 2% during the first six months of this year to £912M ($1.2B). “We feel confident about the progress we are making.”

ITV CEO Carolyn McCall added: “We need to clarify that we don’t see a softening of the market, this was one small segment of the market.”

ITV Studios has made growth with the American streamers a cornerstone of its strategy over the past few years and there will nevertheless be jitters about the decline in revenue across the pond. Helping allay those jitters are some big shows set to deliver during the latter half of 2026 including The Gentlemen Season 2 for Netflix and Apple TV’s Guilty Creatures, both made by ITV Studios indies.

When the Sky-ITV deal completes around this time next year, ITV Studios will be unleashed onto the market and will become a publicly listed company.

McCall backed ITV Studios today as having “terrific competitive advantages” with “extraordinary IP” and refused to budge on the question of whether ITV Studios will look for a buyer once it becomes independent. This came a few days after the CEO of Banijay downplayed the idea of the French behemoth swooping for ITV Studios now that it is merging with All3Media.

“We’re confident about competing because we have scale,” said McCall of ITV Studios. “We are a globally scaled diversifed business and feel we don’t have any issue with our scale. And the other thing for our shareholders is that they are hugely supportive of having a listed pure play studios business. They support that strongly.”

“A huge amount of speculation about virtually every company in America”

McCall was quick to refuse comment on rumors further up the chain that ITV’s new owner Sky will itself be sold now that it has been divested by Comcast.

“There is a huge amount of speculation about virtually every company in America so I can’t really comment,” she added.

She once again backed Sky’s commitment to ITV News once the £1.6B deal completes. She noted that the pay-TV giant has made it “extremely clear” there will be “two distinct separate editorial voices for news” along with “opportunities to supercharge and promote” ITV’s regional news coverage on Sky.

ITV delivered a set of solid if unspectacular results this morning, including strong profits for the soon-to-be-sold networks biz, mostly due to the World Cup. It also revealed an early share buyback of £100M for shareholders, which comes prior to the Sky-ITV deal completing.