While Netflix is mostly known as a streaming service for movies and television, the company is making a run at being a legitimate home for original content as well. Netflix premiered its first original series, “House of Cards,” on Feb. 1.

All 13 episodes of the first season of “House of Cards” were released at once. For this review I’m only focusing on the pilot, but I did spend a large portion of my Saturday on the couch binge-watching the next five episodes. Some critics have questioned whether or not this practice is sustainable or a good idea, but I appreciate the instant gratification. On a related note, Netflix’s new auto-play feature is both the best and worst thing that has happened to me. I have accidentally watched half-seasons of “30 Rock” on multiple occasions.

For its first foray into original programming, Netflix went big on the prestige, getting Academy Award nominees Beau Willimon as writer and David Fincher as executive producer and director of the first two episodes. “House of Cards” is a remake of a BBC series, and it follows Congressman Frank Underwood, a Washington, D.C., power player just after the election of a new president.

The D.C. in “House of Cards” could stand for District of Cynicism. After getting passed over for the position of secretary of state, Underwood returns to his job as House majority whip and promptly starts destroying his enemies. He rarely screws up, and when he does, he fixes it by the end of the episode. Sometimes it seems too easy and, frankly, unrealistic.

Kevin Spacey is given his best role since “Se7en” as the congressman. While his accent sometimes verges into Foghorn Leghorn territory, Spacey is absolutely believable as a larger-than-life politician, and without his performance, the whole series would fall apart. Spacey constantly breaks the fourth wall and addresses the camera directly, whether giving long soliloquies about the nature of power or rolling his eyes at the incompetence of some very important figure. For me, they’re the weakest part of the show so far, but there is some value in bringing out Spacey’s sassy side.

The acting is definitely the high point of the series, and the other actors are all more-than-capable sparring partners for Spacey. Robin Wright imbues her slightly cliched ice queen role with depth and gravitas. Corey Stoll, who was so good as Ernest Hemingway in “Midnight in Paris,” gives a courageous portrayal of an alcoholic congressman who falls into Underwood’s web.

The real discovery of “House of Cards” is Kate Mara, who plays fresh-faced reporter Zoe Barnes. As with her sister Rooney Mara, who starred in “The Girl with the Dragon Tattoo,” Fincher demands the most from her character and gets what could be a star-making role (assuming people actually watch the series).

The cinematography is also stunning and portrays D.C. as a slick yet sleazy nest of snakes. Almost every character could be described ambitious or power-hungry, and while it is refreshing that we’re not following an idealist’s fall from grace, I wouldn’t mind a character who wouldn’t sleep his or her way to the top if given the opportunity. But “House of Cards” is easily one of the better television shows to premiere in the past year, and anyone with a Netflix subscription should give it a shot.