Kasey Moore
Kasey Moore builds a granular picture of how Netflix’s catalogue moves and performs, focusing on release schedules, removals, licensing deals, and audience numbers for series, films, and live events.
Netflix Top 10s and Audience Numbers
Moore treats Netflix viewing data as a beat of its own, using the platform’s Top 10 charts and internal metrics to explain how individual titles are performing.
His regular “Netflix Top 10s” coverage breaks down the first-week trajectory of new releases, contrasting strong debuts such as the thriller I Will Find You with more modest starts like Voicemails for Isabelle and situating them within wider catalogue trends. In pieces on live programming such as BTS THE COMEBACK LIVE, he reports on viewership levels and compares their numbers to other high-profile Netflix events, making performance and retention the core of the narrative rather than a passing note.
That emphasis on data extends to sports content and docu-series, where he covers shows that end prematurely at Netflix and addresses the audience and strategic context for those decisions.
‘What’s Leaving Netflix’ and Catalogue Tracking
Moore runs recurring “What’s Leaving Netflix” roundups that catalogue the titles scheduled to depart the service each month. Recent editions for March and April 2026 list departing series and films across genres, from multi-season dramas to seasonal movie collections, and spell out removal dates and regional availability with clear, list-driven formats.
He complements those pieces with “What’s Coming to Netflix This Week” briefings and weekly rundowns of everything new added to Netflix in the United States, creating a combined view of additions and exits that treats the library as a living system rather than a static archive. Across these formats, he consistently highlights the practical implications of catalogue churn - what disappears, what replaces it, and how frequently the line-up changes.
Release Date Roundups and Renewal Coverage
Release timing and renewal news are another core strand of Moore’s work. He covers season renewals for Netflix originals and licensed series, such as My Life with the Walter Boys returning for a fourth season, and then follows through with detailed release date expectations.
Articles on shows like Ginny & Georgia Season 4 and Dark Winds Season 4 blend projected Netflix arrival windows with production updates and distribution patterns, giving readers a clear sense of when new episodes are likely to appear and how that fits into broader scheduling. In coverage of titles such as Ransom Canyon Season 2, he notes when a season is arriving “much sooner than expected,” framing scheduling surprises and accelerations as editorial points in themselves.
He also writes “everything we know so far” primers on upcoming series and psychosexual dramas like The Decorator and thriller Unchosen, assembling casting, production, and release information into compact pre-launch dossiers.
Live Events, Sports, and Licensing Announcements
Moore pays particular attention to Netflix’s push into live events, combat sports, and acquisitions from other platforms. His coverage of the Ronda Rousey vs Gina Carano fight details that the bout will stream live and exclusively on Netflix in May 2026, including timing and format information that positions it within the service’s broader sports strategy. He tracks licensing moves such as the YouTube Channel Ms. Rachel making the jump to Netflix and cases where Netflix becomes the streaming home for all future episodes of a show alongside its YouTube releases, treating these transitions as key moments in the evolution of the platform’s family and kids offering. This strand of his reporting often intersects with his data work, showing how viewership, live coverage, and acquisition decisions interact as Netflix expands beyond traditional scripted series.
Role at the Masthead and Long-Term Coverage
Moore is the founder and editor-in-chief of What’s on Netflix, a leading independent resource dedicated solely to tracking Netflix’s new releases, removals, and breaking news. He has published more than six thousand articles for the masthead and has been writing there since 2013, giving him over a decade of continuous, beat-specific reporting on the service. The outlet he runs is built to guide Netflix subscribers in finding new series and staying informed about movies and TV shows on the platform, and his work reflects that mission through consistent attention to catalogue mechanics and programming changes.
His reporting and data insights from What’s on Netflix have been cited by major entertainment and business publications, underscoring that his detailed tracking of Netflix’s line-up and performance reaches beyond the site’s own readership.
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