What gives a local TV news show that "look"?
The answer is both "light: lots and lots of light" and the imaging system.  But it is not f22 (which on most cameras would produce a surprisingly soft result due to diffraction limits).

The "light: lots and lots of light" is really about having not only good key and fill lights, but also lights above and behind the talent, creating a subtle rim of light around their figure.  In the literature this is known as three-point lighting, but it can be implemented with many more points of light, depending on taste.  It is true that studios are not shy about the absolute amount of light they use, but it is not only the absolute amount that does the magic--balancing key, fill, and rim lighting is just as important.

To get the deep depths of field, they don't stop lenses down to f22.  Rather, they have a 2/3rd inch sensor (approximately 1/2 the size of a m43 sensor, which in turn is 1/2 the size of FF35).  By using a sensor that's 1/4 the size of FF35, they get a depth of field that's effectively 4 f-stops deeper.  So, using an 12mm f4 lens on a 2/3" sensor has the effect of stopping down a 50mm lens down to f16 on a FF35 sensor, but without the problems caused by diffraction.

Additionally, studio-grade 2/3" cameras typically use a beam-splitter and three discrete sensors (R, G, and B).  Cameras that use a single monolithic CMOS sensor and Bayer patterns need a strong OLPF to deal with increased Moiré artifacts.  The OLPF cuts a certain amount of the high-frequency optical response we perceive as sharpness.

Finally, typical broadcast cameras have built-in sharpening that can be tuned to really make a properly illuminated subject really pop.  By combining studio lighting with a studio camera, you get a highly recognizable studio result.