It's the textbook definition of queerbaiting. The showrunners shoved multiple toxic (straight) romantic subplots into the story that led to no development (cheating, etc), made jokes about one of the male secondary protagonists being sexually harassed by a woman of higher socioeconomic class, and Asami (the person Korra is supposed to like) gets little to no actual character development (shes also neolib fascist) and has a out of touch, disgusting torture scene of the main protagonist that is 99% someones barely disguised fetish.

The gay kiss at the end must be contextualized with the fact that the show was doing so poorly at this point that any sort of way to get the pot stirred would be beneficial. It angered the already frustrated Nick execs who saw the show as a huge financial black hole (and now a brand liability) and let Brike disguise themselves as progressive and hide the reason why the show was canceled (which was because the writing team as a whole were irresponsible, immature losers who had shown us that they have nothing useful to say).

OP's post shows that Brike are still both con-men who have nothing useful to say besides their half-baked lib opinions that they stole from others.

On the other hand, The Owl House, which was authored by an actual queer creator, is a textbook example of how not to queer bait audiences. They got the "brand liability" axe as well, but The Owl House itself is a intensely queer narrative. Don't even try to say that Korra walked so that the Owl House could run, that's just insulting to the Owl House.