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In a quiet suburb of Dublin, an individual can be found in his driveway, sporting a sleeveless jumper and expressing his feelings. “I notice myself getting quieter. Harder to see,” states Leonard, gazing up at the night sky. “Events have unfolded and at this point it seems unless I take action, my life will proceed in this minor, harmless existence.” Hungry Paul, Leonard’s best confidant, considers the idea. “That's perfectly fine,” he replies, his robe moving in the breeze. “Preferable to attempting to leave an impact and ending up damaging things.”

For viewers weary by the noise and rat-tat-tat of modern television terrain, this series arrives like a warm cover with a hot drink of blackcurrant juice.

In line with its quiet characters, this comedy – a half-dozen installment program written by its authors, based on Rónán Hession’s quiet story – looks disapprovingly on contemporary society; looking disapprovingly over its eyewear toward anything in the way of disturbances, sudden movements or – heaven forfend – excessive aspiration. The series rather, a celebration of shyness; a quiet celebration for those satisfied to wander out of the spotlight. And yet. He (one more distinctly original performance by the actor) is unsettled. He notices a creeping “urge to throw open the entryways within my world … just a bit.” The loss of his beloved mother has whisked the rug from under his slippers and Leonard, a writer for others, now finds himself questioning the decisions that have brought him to his current situation (single; sporting facial hair; working on a range of kids' reference books for a man who concludes emails with the phrase “ciao for now”).

Thus Leonard starts himself on a quest for emotional fulfilment, accompanied by the somewhat braver Hungry Paul (the performer) functioning as his close companion, mentor and partner in a weekly gaming session functioning as both symposium (“Is the pool warm due to children urinating, or do kids pee in it since it's warm?”) and sanctuary.

(How did Paul get his nickname? The reason is unknown. The beginning of the nickname appears lost in mystery. Maybe the postal worker on one occasion consumed a sandwich very fast, or reacted to an awkward situation by nervously peeling four scotch eggs with his teeth).

Arriving in Leonard's calm existence cartwheels a new colleague (Jamie-Lee O’Donnell), a fresh energetic associate who lightheartedly proposes to eliminate his terrible supervisor (the actor) during the office fire drill. The swift movement you can hear represents Leonard's calm life experiencing a revolution.

In other scenes in the first episode of the comedy focused less on story and more by what younger viewers may refer to as “atmosphere”, viewers encounter Paul's father (the brilliant the performer), a battered sofa of a man who covertly observes, tapes and rewatches television game programs to amaze his loving spouse with his general knowledge.

Shepherding us throughout this gentle kindness there is a voiceover who closely resembles – and actually is – the Hollywood icon. Indeed, Julia Roberts. In case you're considering, “certainly the inclusion of a major Hollywood star is at odds with the show's modest approach and at first acts merely as a diversion?” you would be correct. However, the actress performs admirably, and lines like “Leonard’s problem is the missing a look of sudden insight” help ensure that early misgivings fade if not quite to appreciation, then at least acceptance.

No more criticism for now. Leonard and Hungry Paul’s heart is well-intentioned: which is “located on a seat next to the Detectorists, indicating its favourite duck.” It’s a series that moves gently in its sleeveless jumper, occasionally looking up at the stars, at other times looking at its slippers, quietly confident that there is nothing in life as uplifting as spending time in the company of close companions.

Open the doors and windows of your life, slightly, and let it in.