Empathetic, textured, funny, surprising, and affectionate reimagining.

The series sets up myriad intriguing possibilities and wows with enough stellar soundtrack songs and pop culture-laden dialogue to keep us on the hook for more. By the final episodes, the previous High Fidelity seems less like a copied original and more like an inspired springboard to enable a more engaging character to improve her life and herself.

“High Fidelity”—both then and now—is about the timeless, vicarious narrative charms of any secret society/gang/club/superhero team. The insiders are outsiders and eccentrics who possess superpowers. In “High Fidelity,” the superpowers are in their ears. Their consequent oddities and obsessions only make them more endearing. Ms. Kravitz is particularly so, most of the time. ... If nothing else, the show drops its needle on a certain millennial hipster groove, without losing touch with its Gen X ancestor.

Rob is arguably the quintessential John Cusack role, but Kravitz winningly steps into those shoes. ... Even if this TV mixtape of High Fidelity misses some fundamental ideas behind the source material, it's still a delight. [Feb 2020, p.86]

High Fidelity has many charms. But it does also have a recurring dissonance, a bunch of vestigial generational and dude behaviors that make the record skip.

The creators of this "High Fidelity" TV series fail to expand on the material to the point where 10 episodes can be sustained.

Nearly every major decision, from the premise to the casting to the grueling callbacks to the film, is a fumble. The show isn't just unnecessary; it's a largely soulless cover that doesn't understand what made the original distinctive. Perhaps most dispiritingly, the marvelous wit and poignancy of the two episodes whose storylines appear to be wholly invented by the show's writers suggest that a great deal of talent was wasted on trying to give life to a seemingly DOA concept.

Might’ve made for a better rom com movie for Hulu, but count me in for a second season. Enjoyed the three main characters (Rob, Simon, and Cherise - who has Tracy Morgan vibes). Can be a little all over the place at times, but otherwise really well done.

The original High Fidelity film has a massive cult following so this new reinterpretation would have its detractors by critics and film buffs. But dare i say it, its much better then the film and can see a second season happening (it would be welcome to see development with characters). Pace wise, twists and turns of all the main characters are relevant in regards to ambition of adults, growing up in your 20s "Cool,party going,freedom to not care" dragging reluctantly into your 30s responsibilities of marriage, engagement and parenthood. The subtle ridiculing of the vacuous social media generation, and the way the gentrification of New York has occurred sadly is poignant too. Zoé Kravitz suits this new "Rob" in an ideal role as a record shop owner and how music shapes her life and knowledge of music bordering on the obsessive. The sub characters seem at plain hipsters or wannabes but are all social outcasts by not being the stereotype in race or by gender identity and whilst revolving around Robs selfish messed up universe. Even deep down if they do find her to be a lost cause sometimes but as episodes develop you see more to find out about making the interlink between episodes intriguing. Without giving much away with spoilers it follows the film in a basic thread but its more developed and I hope it will be a success as it deserves to be...

Starts off with so much promise and goes downhill pretty quickly from there. In the end the best thing about this show is the music.