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In a quiet neighborhood of Dublin, a man is standing outside his home, wearing a vest and sharing his feelings. “I notice myself getting quieter. Harder to see,” remarks Leonard, gazing toward the stars. “One thing’s led to another and at this point I feel like if I don’t do something, I will continue in this simple, peaceful routine.” His friend Paul, Leonard’s best confidant, ponders these words. “There's no harm in that,” he responds, his bathrobe moving with the wind. “Superior to trying to make a mark and causing harm instead.”

For viewers tired by the chaos and rat-tat-tat of current streaming landscape, the show arrives similar to a warm cover and a comforting beverage of blackcurrant juice.

In line with its quiet characters, Leonard and Hungry Paul – a six-episode comedy created by the writing duo, based on the novelist’s understated book – takes a dim view toward today's world; gazing critically over its spectacles on everything related to loud sounds, abrupt changes or – heaven forfend – excessive aspiration. This show rather, an ode to introversion; a subtle homage for those content to amble along below the parapet. And yet. Leonard (one more sublimely idiosyncratic turn from Alex Lawther) is uneasy. He feels an increasing “desire to unlock the openings within my world … just a bit.” The recent death of his parent has pulled the carpet out from under him and the 32-year-old, a writer for others, now feels questioning the choices that directed him to where he is (unattached; with a protective mustache; writing multiple kids' reference books for a man who concludes emails using the words “goodbye for now”).

And so Leonard launches himself on a quest for emotional fulfilment, alongside his more outgoing friend Paul (the performer) acting as his trusted friend, life coach and ally in a weekly gaming session that serves both as discussion (“Is the water heated because kids pee in it, or do children urinate since it's warm?”) and safe space.

(Why “Hungry” Paul? The reason is unknown. The beginning of this name seems forgotten in mystery. Maybe he previously devoured a snack unusually quickly, or reacted to a socially fraught incident by hastily opening some food items by biting into them).

Into Leonard’s gentle world cartwheels a vibrant character (the actress), a recent energetic co-worker who happily suggests to get rid of the awful manager (the character) during the office fire drill. The swift movement audible is Leonard’s gentle world being turned upside down.

Elsewhere in the first episode of the comedy focused less on story and more on what a modern audience could describe as “atmosphere”, we meet Paul's father (the brilliant the actor), a worn-out individual who covertly observes, saves and reviews television game programs to dazzle his loving spouse through his fact recall.

Leading viewers through all this subtle warmth there is a voiceover that sounds very much like – and actually is – the famous actress. Truly, Julia Roberts. In case you're considering, “certainly the presence of a major Hollywood star clashes with the show's modest approach and initially serves only as an interruption?” that's accurate. However, Roberts acquits herself well, and lines such as “Leonard's challenge is his absence of an expression of discovery” assist in making sure that initial doubts fade though not complete approval, then at minimum tolerance.

No more criticism currently. Leonard and Hungry Paul’s heart is in the right place: the right place being “resting on a bench alongside similar shows, showing its preferred bird.” It’s a series that moves gently wearing its simple clothes, occasionally looking up into space, at other times looking toward the ground, serenely certain that no experience is in the world as cheering as spending time in the company of good friends.

Open the doors and windows of your life, just a bit, and allow it entry.