Due to the risen costs of the broadcasting rights of the most popular media sport products, sharing the broadcasting rights of sports mega events between public service broadcasters (PSBs) and commercial media companies has become more common. Unlike their commercial counterparts, PSBs are known to be bound by the statutory principles of public service. This master’s thesis in social sciences of sport explored the broadcast coverage of the Qatar World Cup 2022 offered by the Finnish PSB Yle and a commercial subscription channel C More. While the conventions of television sport have been researched, few studies have aspired to analyze the content of sports studio programmes quantitatively. The aim here was to discover similarities and differences between Yle and C More’s World Cup studio coverage as well as to find out how the coverage changed during the tournament. A comparative research design was utilized using quantitative content analysis as a method with presentation form, topic, person speaking, and segment length used as the main variables. The sample analyzed included the studio broadcasts of 22 matches – 12 of which were broadcasted by Yle and 10 by C More. The theoretical foundations of the study were laid on the closely linked concepts of mega event, media event, and media spectacle together with the concepts of media sport and sports journalism. Furthermore, the theoretical framework included discussing the event format of the FIFA World Cup and recalling the main controversies that surrounded the tournament hosted by Qatar. In addition, the differences in the ways public service and commercial media function were considered, and the conventions of television sports were appraised with special attention given to the discursive practices in display in the World Cup studio. The findings of this study were in most part consistent with the expectations based on the existing literature. Within their respective variables, the match itself, in-studio discussions, and the members of the studio team filled at least relative majority of the studio time on both channels. However, Yle’s coverage was more journalistically orientated, whereas C More built its coverage more clearly on entertainment values. Yle owed much of its coverage to the sociopolitical issues, as opposed to C More that did not completely ignore such issues in its coverage either. More diverse set of expert voices was heard in Yle’s studio regarding both football and social issues. Additionally, Yle’s broadcasts were interpreted to seek to fulfill the essential culture advancing purpose of the public service with a prominent amount of coverage of the World Cup history and the tactics and statistics of the game. In contrast, C More’s more fast-paced studio show relied upon personalities and the lure of stardom, which was best highlighted in the comparatively significant proportion of coverage dedicated to individual athletes. Regardless of the criticism the event received in the World Cup studios, the coverage analyzed largely adhered to FIFA’s wishes. After all, television participates in producing the event and selling the World Cup product is part of its role. As anticipated, the amount of studio coverage dedicated to social issues decreased on both channels as the competition advanced.