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In a peaceful suburb of Dublin, a person stands outside his home, sporting a vest and sharing his thoughts. “It seems like I'm becoming more silent. Harder to see,” says Leonard, looking up at the night sky. “Events have unfolded and now it seems if I don’t do something, I will continue in this minor, harmless existence.” Paul, his closest companion, reflects on the idea. “That's perfectly fine,” he responds, his bathrobe moving with the wind. “Superior to striving for recognition and causing harm instead.”

For viewers tired by the chaos and fast pace of today’s TV offerings, Leonard and Hungry Paul comes similar to a cozy wrap and a comforting beverage of blackcurrant juice.

Similar to its gentle leads, Leonard and Hungry Paul – a half-dozen installment program created by Richie Conroy and Mark Hodkinson, adapted from the author’s quiet 2019 novel – looks disapprovingly toward today's world; peering disapprovingly over its spectacles on everything that involves unnecessary noise, sudden movements or – goodness forbid – too much drive. The series rather, a celebration of shyness; a quiet celebration of those content to wander out of the spotlight. However. Leonard (another uniquely quirky portrayal by the actor) feels restless. He feels an increasing “desire to unlock the entryways within my world … just a bit.” The loss of his mother has whisked the rug out from under him and this young man, an anonymous author, now finds himself reconsidering the decisions which led him to where he is (alone; defensively moustached; writing multiple kids' reference books for a man who signs off emails using the words “ciao for now”).

Therefore Leonard starts an exploration for emotional fulfilment, accompanied by the somewhat braver Paul (the actor) functioning as his close companion, mentor and co-conspirator in a weekly game night which acts as discussion (“Is the pool warm because kids pee in it, or is it that kids pee as it's heated?”) and safe space.

(What's the origin of "Hungry" Paul? It's unclear. The origin of the moniker seems forgotten in mystery. Perhaps he previously devoured some food unusually quickly, or responded to an awkward situation by hastily opening some food items using his teeth).

Arriving in Leonard's calm existence bursts Shelley (the actress), a fresh energetic colleague who happily suggests to get rid of the awful manager (the actor) during the office fire drill. The rushing noise audible represents Leonard's calm life being turned upside down.

In other scenes during the opening installment of the comedy driven less by plot and centered around what the under-30s could describe as “atmosphere”, we are introduced to Paul's father (the consistently great Lorcan Cranitch), a worn-out individual who secretly watches, records then replays trivia competitions to dazzle his loving spouse using his trivia skills.

Shepherding viewers through all this gentle kindness is a narrator who closely resembles – and actually is – the Hollywood icon. Indeed, Julia Roberts. Should you wonder, “undoubtedly the use of a big-name celebrity contradicts the show's modest approach and at first acts merely as a distraction?” you're right. Still, the actress performs admirably, and lines for example “Leonard’s problem is that he lacks an expression of discovery” help ensure that first reservations fade though not complete approval, then at least acceptance.

But that’s enough grumbling at this time. The show's core has good intentions: which is “resting on a bench next to the Detectorists, showing its favourite duck.” This is a show that strolls leisurely in its sleeveless jumper, at times staring at the stars, at other times looking toward the ground, serenely certain that no experience is in life as heartening as passing time with dear pals.

Throw open the portals within your world, slightly, and let it in.