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In a quiet neighborhood of the Irish capital, a person stands outside his home, sporting a tank top and expressing his feelings. “It seems like I'm becoming more silent. Less noticeable,” states the protagonist, looking toward the stars. “One thing’s led to another and currently it seems without a change, I’ll just carry on in this quiet, unremarkable life.” Hungry Paul, his only confidant, ponders these words. “There's no harm in that,” he replies, his dressing gown swaying with the wind. “Superior to striving for recognition and causing harm instead.”

For viewers exhausted by the chaos and constant stimulation of modern television terrain, Leonard and Hungry Paul steps in similar to a warm cover and a comforting beverage of blackcurrant juice.

In line with its harmless protagonists, Leonard and Hungry Paul – a six-part comedy written by the writing duo, inspired by the author’s understated book – casts a critical eye on contemporary society; peering critically above its prematurely middle-aged glasses toward anything in the way of disturbances, quick actions or – heaven forfend – too much drive. The series is, instead, a celebration of shyness; a quiet celebration for those happy to pootle around out of the spotlight. And yet. He (one more sublimely idiosyncratic portrayal from Alex Lawther) feels restless. He feels a growing “urge to throw open the openings within my world … slightly.” The recent death of his mother has yanked the floor away from his feet and Leonard, a ghost writer, now realizes doubting the choices that directed him to his current situation (single; with a protective mustache; working on a range of kids' reference books for an employer who signs off emails using the words “see you later”).

And so Leonard begins an exploration to find happiness, alongside his more outgoing Hungry Paul (the actor) serving as his trusted friend, mentor and co-conspirator during their regular game night that serves both as discussion (“Is the water heated because kids pee in it, or do kids pee in it because it’s warm?”) and refuge.

(What's the origin of "Hungry" Paul? No idea. The beginning of the nickname appears lost in mystery. Maybe the postal worker on one occasion consumed a snack unusually quickly, or responded to an awkward situation by hastily opening some food items with his teeth).

Entering Leonard's quiet life cartwheels Shelley (Jamie-Lee O’Donnell), a fresh energetic associate who lightheartedly proposes to get rid of Leonard’s appalling boss (Paul Reid) in a workplace safety exercise. The swift movement noticeable represents Leonard's calm life being turned upside down.

In other scenes in the first episode of a series not heavily plotted and centered around what the under-30s might call “atmosphere”, we are introduced to Paul's father (the brilliant the performer), a tired character who secretly watches, tapes and rewatches television game programs to dazzle his devoted partner through his fact recall.

Guiding the audience amidst this subtle warmth we hear a narrator that sounds very much like – and truly is – Julia Roberts. Indeed, Julia Roberts. In case you're considering, “undoubtedly the inclusion of such a famous actor is at odds with the show's modest approach and at first acts merely as a diversion?” you're right. However, Roberts acquits herself well, and phrases such as “The issue with Leonard is the missing a look of sudden insight” assist in making sure that early misgivings give way though not complete approval, then certainly understanding.

But that’s enough grumbling for now. The show's core is well-intentioned: which is “located on a seat next to the Detectorists, indicating its preferred bird.” It’s a series that moves gently wearing its simple clothes, at times staring into space, at other times looking at its slippers, calmly assured that no experience is in life as uplifting as spending time with dear pals.

Throw open the portals within your world, a little, and allow it entry.