Given all the faces you see glued to computers, tablets, and cell phones, you might think that people watch much less television than they used to. You would be wrong. According to Nielsen, Americans on average consume nearly five hours of TV every day, a number that has actually gone up since the 1990s. That works out to about 34 hours a week and almost 1,800 hours per year, more than the average French person spends working. The vast majority of that time is still spent in front of a standard television, watching live or prescheduled programming. Two decades into the Internet revolution, despite economic challenges and cosmetic upgrades, the ancient regime survives, remaining both the nation’s dominant medium and one of its most immutable.

And that’s why what Netflix is trying to do is so audacious. For the past two years, the Silicon Valley company has been making a major push into original programming, putting out an ambitious slate of shows that have cost Netflix, which had profits of $17 million in 2012, hundreds of millions of dollars. Because of the relative quality of some of those series, such as “House of Cards” (a multiple Emmy winner) and “Orange Is the New Black,” they’ve been widely interpreted as part of an attempt to become another HBO. Because every episode of every show is made available to watch right away, they’re also seen as simply a new twist in on-demand viewing. But in fact the company has embarked upon a venture more radical than any before it. It may even be more radical than Netflix itself realizes.

History has shown that minor changes in viewing patterns can have enormous cultural spillovers. CNN can average as few as 400,000 viewers at any given moment—but imagine what the country might be like if cable news had never come along. Netflix’s gambit, aped by Amazon Studios and other imitators, is to replace the traditional TV model with one dictated by the behaviors and values of the Internet generation. Instead of feeding a collective identity with broadly appealing content, the streamers imagine a culture united by shared tastes rather than arbitrary time slots. Pursuing a strategy that runs counter to many of Hollywood’s most deep-seated hierarchies and norms, Netflix seeks nothing less than to reprogram Americans themselves. What will happen to our mass culture if it succeeds?

Vladimir Nabokov believed that humanity’s highest yearning ought to be to leave behind any desire to be up-to-date, to be unconcerned with what is happening now. As he put it in his notes to Pale Fire: “Time without consciousness—lower animal world; time with consciousness—man; consciousness without time—some still higher state.”

The business of entertainment has not generally shared Nabokov’s view. It values timeliness above all, creating a hierarchy so fundamental that it resembles natural law: New is better than old, live trumps prerecorded, original episodes always beat reruns. That’s overwhelmingly obvious in sports and news, and accounts for the manufactured ephemerality of reality and talent shows. Yet it is also implicit in dramas and sitcoms, with their premieres, finite seasons, and finales. The rule holds fast for film as well. From its opening weekend in major theaters, through nearly two years of “release windows,” a movie drifts downward through airlines, hotels, DVDs, cable and network television, and the Internet, decaying in perceived worth.