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In a peaceful area of Dublin, an individual stands on the pavement, sporting a sleeveless jumper and expressing his concerns. “I notice I'm becoming more silent. Harder to see,” states the protagonist, looking up at the night sky. “Circumstances have evolved and currently it seems unless I take action, I’ll just carry on in this simple, peaceful routine.” Hungry Paul, his only companion, considers the idea. “Nothing wrong with that,” he answers, his bathrobe flapping in the breeze. “Preferable to attempting to leave an impact and ending up damaging things.”

For those tired by the noise and fast pace of current streaming terrain, the show steps in as a foil blanket with a hot drink of a sweet cordial.

Similar to its gentle leads, the series – a six-episode program created by Richie Conroy and Mark Hodkinson, adapted from the author’s understated book – looks disapprovingly at modern life; looking disapprovingly above its spectacles toward anything in the way of loud sounds, abrupt changes or – goodness forbid – an abundance of ambition. This show on the contrary, a celebration of shyness; a gentle tribute of those satisfied to pootle around out of the spotlight. However. Leonard (another distinctly original turn from Alex Lawther) feels restless. He feels an increasing “need to open the doors and windows of my life … just a bit.” The passing of his mother has pulled the carpet from under his slippers and the 32-year-old, a writer for others, now finds himself reconsidering the choices which led him to where he is (alone; with a protective mustache; working on several children’s encyclopedias for a boss who concludes emails using the words “see you later”).

Thus Leonard launches an exploration for personal satisfaction, alongside his more outgoing Paul (the performer) functioning as his confidante, guide and co-conspirator in a recurring gaming session that serves both as discussion (“Does the pool feel warm from kids relieving themselves, or do kids pee in it because it’s warm?”) and safe space.

(Why “Hungry” Paul? The reason is unknown. The source of the moniker seems forgotten in mystery. Perhaps Paul previously devoured a sandwich unusually quickly, or responded to a tense moment by panic-peeling four scotch eggs by biting into them).

Arriving in Leonard's calm existence comes Shelley (the actress), a new energetic co-worker who lightheartedly proposes to kill Leonard’s appalling boss (the character) in a workplace safety exercise. The rushing noise audible represents Leonard's calm life being turned upside down.

Elsewhere in the initial show of the comedy driven less by plot and centered around what younger viewers could describe as “mood”, we meet the older generation (the brilliant the performer), a tired character who secretly watches, saves and reviews daytime quiz shows to impress his loving spouse with his general knowledge.

Guiding us amidst this minor-key niceness there is a voiceover who closely resembles – and truly is – the famous actress. Indeed, the celebrity. If you are thinking, “surely the inclusion of a big-name celebrity clashes with the show's modest approach and initially serves only as an interruption?” you're right. However, Roberts acquits herself well, and dialogue such as “Leonard’s problem is that he lacks an expression of discovery” help ensure that early misgivings yield if not full admiration, then at minimum tolerance.

No more criticism currently. The series' spirit has good intentions: that place is “located on a seat next to the Detectorists, showing its preferred bird.” It’s a series that strolls leisurely wearing its simple clothes, at times staring into space, occasionally down at its feet, serenely certain that nothing is on Earth as heartening as spending time in the company of close companions.

Throw open the portals in your existence, a little, and let it in.