Inside ITV's Brooklyn Rooftop Studio: How the 2026 World Cup Broadcast Team Did It

When the 2026 World Cup kicked off across North America, ITV Sport made a bold statement long before any ball was kicked. Instead of a conventional studio tucked inside a stadium or a local broadcast centre, the network planted its flag on a Brooklyn rooftop — and the football world couldn't stop talking about it.

Why a Brooklyn Rooftop?

New York City is a global hub, but it's not exactly the first place you'd think of for a World Cup studio when matches are being played in stadiums spread across the USA, Canada, and Mexico. Yet ITV saw an opportunity. The rooftop location offered an iconic, energetic backdrop that screamed 'host nation' — think Manhattan skyline, the East River, and a vibe that matches the tournament's continental ambition.

For a broadcaster, location is more than just a pretty view. It sets the tone. By being in Brooklyn, a neighbourhood with cultural cachet, ITV tapped into the youthful, diverse energy of the host cities. The studio became a character in the coverage, a visual cue that this World Cup was different — bigger, bolder, and breaking away from tradition.

The Challenge of Crossing Time Zones

Broadcasting a World Cup from the Eastern Time Zone while matches kick off across three time zones was no small feat. ITV's team had to juggle live pre-game shows, half-time analysis, and post-match reaction, all while staying in sync with a UK audience several hours ahead. The rooftop studio wasn't just a aesthetic choice; it was a logistical hub that had to function seamlessly under pressure.

Producers and presenters worked through the night, with the New York skyline shifting from late afternoon sun to the bright lights of evening. The sound of the city — sirens, subway rumble, occasional cheers from bars below — became part of the fabric of the broadcast, a reminder that football was happening live and loud in America.

What It Means for Future Tournaments

ITV's Brooklyn gamble signals a shift in how broadcasters think about World Cup coverage. The old model of a sterile studio inside the stadium is giving way to something more cinematic. Future tournaments — whether in a single country or spread across continents — will likely see networks using iconic cityscapes as backdrops, turning the coverage into a travelogue of the host nation.

For fans, it means a richer experience. You don't just watch the game; you feel the atmosphere of the host city. And for ITV, it was a way to stand out in a crowded market, where every network is chasing that viral moment. The Brooklyn rooftop wasn't just a set — it was a statement that broadcasting the beautiful game can be as creative as the football itself.