Ironically, K-Pop as a well-honed media-industrial mechanism captures a near-military efficiency in the production of image, (commercial) influence and self-propagating information artefacts that any authoritarian state would surely be proud to call its own. Propaganda falls over precisely where (and when) it attempts to overly-constrain the semantics. Contemporary identities and cultural systems are far more diverse and positively effervesce with constructive entropy.
Consider the extent to which the reflexive unity or putative singular purpose of ideological systems (of all flavours) is only ever really what it is in terms of the extent to which an antithesis is invoked, cultivated, abhorred. In this sense, the anchor of gender identity binds an aspirational machismo that is only ever what it is in regards to those things and identities against which it most vigorously asserts itself with self-evident insecurity.
This is really a symptom of deeper psychological pathologies that are most evident in the ways that identities (and associated ideologies) are only what they are in regards to their antitheses. Fear is an irreducible core of authoritarian ideological uncertainty; also, a key methodology of political self-validation.