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In a peaceful area of Dublin, a man can be found in his driveway, sporting a tank top and sharing his feelings. “I feel myself getting quieter. Less noticeable,” says the protagonist, staring up at the night sky. “One thing’s led to another and currently it seems if I don’t do something, I will continue in this quiet, unremarkable life.” Hungry Paul, his closest companion, ponders the idea. “There's no harm in that,” he replies, his dressing gown flapping with the wind. “Preferable to trying to make a mark and causing harm instead.”

For anyone weary by the noise and rat-tat-tat of modern television terrain, this series steps in like a cozy wrap and a comforting beverage of blackcurrant juice.

Like its harmless protagonists, the series – a half-dozen installment comedy developed by its authors, inspired by the novelist’s quiet book – looks disapprovingly at modern life; peering critically through its prematurely middle-aged glasses on everything that involves disturbances, quick actions or – perish the thought – excessive aspiration. The series rather, an ode to introversion; a quiet celebration to people content to wander below the parapet. And yet. He (another distinctly original portrayal from the star) is uneasy. He notices an increasing “desire to unlock the doors and windows in my existence … just a bit.” The passing of his mother has yanked the floor from under his slippers and the 32-year-old, a writer for others, now finds himself doubting the choices that have brought him to his current situation (unattached; sporting facial hair; writing several educational volumes for a man who signs off messages with the phrase “see you later”).

Therefore Leonard launches on a journey to find happiness, accompanied by the somewhat braver friend Paul (the performer) functioning as his close companion, guide and ally during their regular game night that serves both as debate (“Is the water heated from kids relieving themselves, or is it that kids pee since it's warm?”) and sanctuary.

(How did Paul get his nickname? It's unclear. The source of this name seems forgotten to the mists of time. Perhaps he previously devoured a snack unusually quickly, or reacted to an awkward situation by nervously peeling four scotch eggs using his teeth).

Entering Leonard's quiet life cartwheels a new colleague (the actress), a recent energetic co-worker who cheerily offers to get rid of Leonard’s appalling boss (Paul Reid) during the office fire drill. The swift movement audible is Leonard’s gentle world undergoing a shake-up.

In another part in the first episode of this program driven less by plot and more by what younger viewers might call “vibes”, we meet Hungry Paul’s dad (the brilliant the performer), a tired character who secretly watches, tapes and rewatches television game programs to amaze his devoted partner using his trivia skills.

Shepherding viewers throughout this gentle kindness we hear a narrator that is unmistakably – and truly is – Julia Roberts. Truly, the star. If you are thinking, “undoubtedly the inclusion of such a famous actor clashes with the program's low-key style and at first acts merely as an interruption?” that's accurate. Still, Roberts acquits herself well, and dialogue for example “The issue with Leonard is that he lacks an expression of discovery” assist in making sure that first reservations fade though not complete approval, then certainly understanding.

But that’s enough grumbling at this time. The show's core has good intentions: which is “located on a seat next to the Detectorists, showing its favourite duck.” It’s a series that strolls leisurely in its sleeveless jumper, sometimes gazing upward at the stars, sometimes downward at its feet, serenely certain that nothing is on Earth as heartening as spending time alongside dear pals.

Unlock the entryways within your world, slightly, and welcome it inside.