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In a quiet area of the Irish capital, a man stands in his driveway, sporting a tank top and voicing his feelings. “I notice myself getting quieter. More invisible,” states the main character, gazing up at the night sky. “Circumstances have evolved and at this point I feel like without a change, my life will proceed in this quiet, unremarkable life.” Paul, Leonard’s best confidant, ponders this statement. “There's no harm in that,” he replies, his bathrobe swaying with the wind. “Preferable to attempting to leave an impact and ending up damaging things.”

For viewers tired by the noise and constant stimulation of today’s TV landscape, this series steps in as a warm cover with a hot drink of Ribena.

In line with its harmless protagonists, this comedy – a six-episode program written by the writing duo, adapted from the author’s understated book – takes a dim view toward today's world; looking skeptically over its prematurely middle-aged glasses toward anything in the way of loud sounds, sudden movements or – goodness forbid – excessive aspiration. The program is, instead, an ode to introversion; a quiet celebration for those content to amble along away from attention. However. He (one more uniquely quirky performance from the star) is uneasy. He notices a creeping “urge to throw open the openings within my world … just a bit.” The loss of his beloved mother has yanked the floor out from under him and Leonard, a writer for others, now feels questioning the decisions that have brought him to where he is (alone; defensively moustached; creating several educational volumes for a boss who ends messages using the words “ciao for now”).

Thus Leonard starts an exploration to find happiness, alongside his more outgoing friend Paul (the performer) functioning as his close companion, life coach and ally in a recurring game night functioning as both discussion (“Is the pool warm due to children urinating, or do children urinate since it's warm?”) and refuge.

(What's the origin of "Hungry" Paul? The reason is unknown. The origin of the moniker is shrouded in mystery. Perhaps he on one occasion consumed a sandwich unusually quickly, or reacted to a socially fraught incident by nervously peeling several snacks using his teeth).

Arriving in Leonard's calm existence cartwheels a vibrant character (Jamie-Lee O’Donnell), a recent lively co-worker who happily suggests to kill Leonard’s appalling boss (the character) in a workplace safety exercise. That whooshing sound noticeable is Leonard’s gentle world being turned upside down.

Elsewhere in the initial show of the comedy not heavily plotted and more by what younger viewers might call “vibes”, we meet Hungry Paul’s dad (the consistently great Lorcan Cranitch), a worn-out individual who privately views, saves and reviews daytime quiz shows to dazzle his devoted partner through his fact recall.

Guiding the audience amidst this subtle warmth we hear a narrator who closely resembles – and, indeed, very much is – Julia Roberts. Indeed, Julia Roberts. In case you're considering, “undoubtedly the use of a major Hollywood star clashes with the program's low-key style and at first acts merely as a diversion?” that's accurate. Nevertheless, Roberts acquits herself well, and dialogue like “Leonard's challenge is his absence of a look of sudden insight” assist in making sure that early misgivings fade though not complete approval, then at minimum tolerance.

Enough complaining at this time. Leonard and Hungry Paul’s heart is well-intentioned: the right place being “resting on a bench alongside similar shows, showing the duck it loves.” It’s a series that ambles along in its sleeveless jumper, at times staring at the stars, sometimes downward at its slippers, quietly confident that no experience is in life as uplifting as spending time in the company of dear pals.

Open the doors and windows within your world, slightly, and allow it entry.