Zoë Kravitz has reflected on the cancellation of the television series High Fidelity, calling it “a big mistake”.
Kravitz starred in the romantic comedy as Rob, a music and pop culture-loving record store owner. Set in Brooklyn, the series followed her as she grappled with her failed past relationships.
A reinterpretation of the 2000 film, which was adapted from the 1995 novel by Nick Hornby, the show was originally picked up in 2018 and developed for Disney+. The series then moved to Hulu a year later in April 2019 after Disney gained control of the streaming platform.
Speaking to Elle, Kravitz opened up about the show’s cancellation in 2020 after just one season, a show that she also executive produced and co-wrote.
Kravitz said: “They didn’t realise what that show was and what it could do.
“The amount of letters, DMs, people on the street, and women that look like us — like, that love for the show, it meant something to people. It was a big mistake.”
At the time of the show’s cancellation, Kravitz criticised Hulu for a lack of diversity among its show’s starring roles.
Kravitz wrote on Instagram: “It’s cool. At least hulu has a ton of other shows starring women of colour we can watch. oh wait.”
Other musicians and actors commented on her post expressing their disbelief and disappointment at the show’s cancellation. The Roots drummer Questlove replied: “WHHHHHAAAAAAAAAAAATTTTTTT!!!?????????!!!!!!!!!!!??? Why do I always find out about tragic s**t this way?!” Kravitz replied: “@questlove ugh. I’m sorry ! I was truly about to text you.”
Screenwriter and actor Lena Waithe added: “NOOOOOOO!!! I rarely find shows that genuinely impress me. This one did. I told you how much I loved this show. And I still do. This one definitely deserved another season.”
The first and only season of High Fidelity aired on Hulu in February 2020 and ran for 10 episodes.
While Hulu doesn’t release official viewership data, the series did receive strong reviews on Rotten Tomatoes upon its debut, scoring an 86 per cent approval rating from critics and 82 per cent from audiences.