We’ve seen it before: Naive kids from some backwater town go to the big city seeking showbiz glory only to encounter liars, users and temptations that could tear them apart.

But we’ve never seen it look quite as pretty as it does in “Neon,” Netflix’s new musical comedy series about Miami’sreggaetonscene. All bright colors, luxe spaces and twerking hotties; if this is what aspiring artist purgatory is like, hell must be heavenly.

The folks behind “Neon” — Max Searle (“Dave,” “Two and a Half Men”) and Shea Serrano are the showrunners — seem to just want to have fun while providing an attractive showcase for the Carib/Latin music genre. And, well, I can’t really complain about smiling through eight episodes of irresistible beats and spirited vocals, sometimes even laughing at the inconsistent gags.

But if you want drama that isn’t easily resolved in 30 minutes? Shut up and dance.

The plucky trio at the heart of “Neon” are three childhood friends from sleepy Fort Myers, Fla. Ever-smiling, kinda dumb Santi (Tyler Dean Flores, “The Dark Knight Rises”)有一个自制的病毒袭击和模糊的鼓励t from somebody in the record business. Easily excited but fundamentally practical lesbian Ness (Emma Ferreira, “Unstable”) is his manager with no experience at the job. The FloriRican buddies’ non-Latino friend Felix (Jordan Mendoza, who also wrote the season’s final episode) is Santi’s socially awkward creative director, a disorganized but talented video maker whose creative lodestone is the movie “Moonlight.”

Though broke, the gang gets into all the exclusive clubs and parties. Santi and his friends’ cojones are uniformly admired too. The trio’s brashness causes trouble, but the likes of Jowell of the reggaeton duo Jowell & Randy and Puerto Rican rapperDaddy Yankee, playing themselves, praise their hustle anyway.

And it seems like every human in South Florida digs Santi’s skillful songwriting, breathy tenor and charismatic stage presence — some even dangle recording deals.

Their industry contact Mia (Courtney Taylor, “Insecure” and “Abbott Elementary”) turns out not to be what she claims, but is helpful nonetheless.

Except for maybe Ness and Mia, there’s not a woman younger than 30 in all of Dade County that cornrowed-Casanova Santi can’t bed. He’s positivity personified, which makes his fleeting twinges of self-doubt less than persuasive. Careerism turns a bit toxic in later episodes, but Flores has already convinced us he’s too damn likable to be mean. Egomania has rarely felt so cuddly.

Some older women are immune to Santi’s charms, though, and they’re the show’s funniest characters. Ruthless ditz Isa (Genesis Rodriguez), a Christina Aguilera-type Disney child star turned pop-music diva, gets paired by her label in a fake romance with Santi (Isanti, anyone?). Then there’s Gina (Jordana Brewster), an ultra-rich “businesswoman” they meet at a stereotypically wacky Art Basel exhibit. She’s got mansions with waterfalls and every drawer inside them stuffed with cash, guns or cocaine. The “Fast & Furious” veteran keeps the character just mysterious enough to be either a dream or a nightmare come true.

The series’ copious drug use, sex and bottle service have zero consequences. If they weren’t playing songs, you might not recognize this as a story about music people. And it’s a good thing the music slaps (original songs were produced by One Six and Tainy), because every third scene involves ecstatic crowds waving arms and chanting along.

While it poses at being an insider exposé, “Neon” just wants to party and celebrate this vibrant sector of Latino creativity. For artists realistically trying to navigate the gritty challenges of Miami’s music scene with some integrity, the second season of “Rap S—” is scheduled to drop next month.

Bob Strauss is a freelance writer.