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It's stating the obvious to declare that it's difficult to keep tabs on the flow of new series on various platforms. Some are well-publicized and others seem to appear from nowhere. Herewith, two dramas and a comedy among the new and notable on Netflix.

Doctor Foster is an already acclaimed BBC drama that has some remarkable performances, and if you're addicted to British fare it will certainly charm you. It is not, however, the masterpiece some U.K. reviews would have you believe.

In essence it is a contemporary twist on the novels of domestic drama that were once lumped under the derisory umbrella "Adultery in Hampstead." In this case, mind you, that staple of British fiction is presented with a twist – the female-revenge drama epitomized by Gone Girl. We meet 37-year-old Dr. Gemma Foster (Suranne Jones), an efficient and in-charge family doctor with a businessman husband, Simon (Bertie Carvel), and a good-natured young son. They live well, this family, with all the trappings of middle-class success.

A succession of clues that arrive on a single day lead Gemma to believe Simon is having an affair. Mainly, it's finding a long blond hair on a scarf. What unfolds is more warped psychological thriller than domestic drama. Gemma is seriously addled by her suspicions and, for a time, they are only suspicions. The viewer wonders if she is unhinged. But when she makes the extraordinary move of hiring a patient to spy on Simon, in return for supplying sleeping pills, the truth eventually comes out. And it is devastating – the mistress is a much, much younger woman.

Instead of confronting her husband, Gemma sets out on a plan of revenge. That's the gist. And the core question is this – is she badly shaken or truly going to extreme, murderous revenge? There are some lovely flourishes in Doctor Foster. Her hypochondriac patients are bit players but they help illuminate what Gemma is going through. In one scene she's telling a man who imagines he has pains and aches, "I'm afraid I'm not feeling very well. I have to leave." He looks at her, outraged and astonished. "But, you're the doctor!" is all he can bluster.

Soon, however, the series becomes overripe. There is an air of hysteria about Gemma while she is presented as a ruthless, scorned woman seeking retribution. Her nemesis, the young woman sleeping with her husband, is treated like a cold, selfish teenager. Some of the dialogue verges on the ridiculous. Unlike Gone Girl, which efficiently twisted expectations, Doctor Foster becomes a bit lost in its own fog of female delirium.

Suranne Jones is fabulous, mind you, gorging on the material presented. And there is an addictive quality to the pacing, if you can forgive the loud melodrama of it.

Rebellion is a five-part miniseries made by Irish public broadcaster RTE with the Sundance Channel (it airs on Sundance in the United States) about the Easter Rising of 1916. The events of that week in Ireland 100 years ago are the foundation myth of modern Ireland. A ragtag group of rebels, some socialists, some dreamers, poets and fierce Irish nationalists, set out to seize Dublin and call on the Irish people to rebel against British rule. It is fiercely rich material in no small part because the Rising failed and its meaning only became clear later.

The miniseries has had a lukewarm reception in Ireland, mainly because it takes a different route into the story. It puts women at its centre. This is a brave and fascinating zigzag into history. We are thrown into the Dublin of 1916 by way of the day-to-day lives of female characters, from a young secretary at Dublin Castle – the seat of British administration – May (Sarah Greene, who is wonderful), to a middle-class woman (Charlie Murphy) who is about to be married but is secretly part of the planned uprising.

The series is gorgeous to look at and captures the ramshackle nature of the Rising. There is a pivotal, excruciating scene in the second episode which captures the heart of the drama. The rebels, many of them brave women, have taken over a major building. And then the order is given that the women will toil in the kitchen and tend to the wounded.

Rebellion has flaws. The tone can shift from the rawness of a Sean O'Casey drama to that of Upstairs Downstairs. But it's an intriguing version of history and utterly noble in its intent.

The Ranch is a Netflix original, and one rather lazily done – an instance of the lack of quality control at the streaming service. Ashton Kutcher plays Colt, a guy who hasn't grown up and lives on his rep as a football quarterback at college. Drifting through a career in the semi-pro leagues, he drops in at home, a ranch in Colorado. There he spars with his irascible dad, Beau (Sam Elliott, who could do this kind of role in his sleep), and joshes with his older brother Rooster (Danny Masterson), who stayed at home to run the ranch. Of course, the ranch is failing and Colt sticks around to help.

The essential material, very thin, has Colt always rubbing his dad the wrong way and trying to reconnect with his mom (Debra Winger), who left his dad and now runs the local bar. While it is competently done, The Ranch is really just a souped-up CBS sitcom with more swearing and a few sex scenes. If Netflix is still trying to challenge HBO in terms of quality original content, The Ranch is an example of failing.