Don’t let the premise turn you off: House of Cards is a thrillingly executed foray by Netflix into original TV programming.

Set in Washington, D.C., the series starts with House Majority Whip Francis Underwood (Kevin Spacey) being passed over for a promised promotion to Secretary of State. Naturally he wastes no time plotting revenge on those responsible for the slight.

Underwood’s plan is vague and haphazard at first, awash with asides into newsrooms, cover-ups and the political intrigue around which the secondary plots orbit. But, like any good puzzle, the big picture grows clearer as each piece is snapped into place.

Spacey may be the show’s greatest success. The man is a veteran of villainy — having played the bad guy in many films from Se7en to Superman Returns — and it’s easy to see why when he brings this calibre of performance to the table. Spacey’s Underwood is a shark: cold, relentless and endowed with row after row of razor-sharp teeth. Leave a drop of blood in the water and watch as he hunts down the source and picks it apart one bite at a time.

By all means Underwood should be a difficult man to empathize with, but Spacey injects the figure with a slick southern charm that’s impossible to resist. You may nearly delight at watching the anti-hero get his due in the end, but you’ll also cheer for him every step of the way. Drama majors take note: this is how a pro plays sinister.

David Fincher directs the first two episodes, setting a sombre tone the rest of the series dutifully follows. Those familiar with the director’s previous work will recognize the dark hues and brooding-yet-playful score that have become his signature style in recent years. Fincher avoids the flashy camerawork he has used in films like Fight Club, and the series is better off for it. House of Cards isn’t meant as a dazzling sparkler, but a slow-burning fuse spiralling from a stick of dynamite—and the direction reflects this intent perfectly.

It sounds strange to hear the names of Hollywood superstars like Fincher and Spacey attached to a show offered by Netflix, but it’s a clear indicator of where the television market is heading. In a world where even NBC is struggling to keep viewers from wriggling back to their laptops and tablets, it makes sense that creators would turn to subscription services where ratings take a back seat to high-quality content. It’s the same reason HBO has kept low-performing shows like The Wire on the air well into their later years despite modest ratings.

As one of the pioneers in a new release format, House of Cards lays a solid foundation for what is to come. The fact that the series commands such star power is proof of its merit.

None of this is to say that House of Cards is a perfect show, but even its downsides are hiccups when weighed against the positives. Episodes are interrupted fairly regularly by quick asides when Underwood breaks the fourth wall and speaks directly to the audience. These moments reek of forced exposition and can easily derail the momentum of a scene, but are a necessary evil when you want to explore the finer details of politics without alienating your audience. Besides, Spacey delivers this occasionally clunky dialogue with just the right panache to make it feel inviting rather than explanatory.

With a wink and a sly grin, Underwood will beckon you in as his enthusiastic accomplice even as he dangles those around him like marionettes from his fingertips.

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