Here's a way that the government could be even less involved: don't DO that. Let people who want to show programs to a large audience find their own way to fund the production and dissemination of that material. Say, by selling ads or attracting sponsors, etc.
And being under heavy influence by advertisers is better than being at arms length from government influence how exactly?
But it works both ways, so instead of paying for foreign shows as they do now, they now get those for free.
BBC doesn't get them for free. The British public does due to lack of geoblocking.
Personally I think that programming that is commercially viable on the international market shouldn't be paid for by taxes (or other practically unavoidable licensing fees) anyway. It puts commercial broadcasters at a competitive disadvantage and takes funding away from arts/documentaries and community programming that needs public broadcasters to be viable.
The real question is why ANYONE would want to work with people who did not like them.
The real question is how any large company can find anyone willing to work for them. Beyond a certain size, it is virtually guaranteed that someone at your workplace will not like you.
However the issue we had with older people was that they were so much harder to train.
If you hire young people on the other hand, you don't need to train them, because they still know it all.
I've done A-B comparisons with the FLAC samples from Pono's store (including some at 44k1/16 that supposedly come from the CD masters) vs. my own FLACs ripped from CD. It is clear that the music on Pono, like "Gold CDs" and other audiophile snakeoil that has come before it, gets its "better" sound by remastering, not because of the higher bitrate or bit depth. I put better in quotes there, because it really is a matter of opinion, and these types of products tend to aim at the type of audiophile who listens to their equipment, rather than listening to the music, so they tend to have a different opinion of what is a better sound.
I don't know about his hardware player, but I did try a similar snakeoil player from Meridian, and found that compared to a standard DAC on the same files, it was doing some DSP processing to "clean" up the sound, which ended up sounding quite nice on jazz and other sparse "audiophile music", but downright awful on noisy rock that is supposed to have a continuous wall of guitar noise.
I'm pretty sure we can all say %@#%
Whoah there. I hope you spelt out that acronym in your head as you wrote it and didn't actually say THE WORD out loud.