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In a quiet area of Dublin, a man is standing in his driveway, dressed in a tank top and voicing his thoughts. “I notice my voice is fading. More invisible,” states the protagonist, looking toward the stars. “Circumstances have evolved and at this point I believe if I don’t do something, my life will proceed in this minor, harmless existence.” Paul, his only confidant, considers this statement. “Nothing wrong with that,” he answers, his bathrobe swaying in the breeze. “Better than striving for recognition only to wind up defacing it.”

For those exhausted by the bluster and constant stimulation of modern television landscape, the show steps in as a warm cover and a comforting beverage of blackcurrant juice.

Like its gentle leads, this comedy – a six-episode comedy created by the writing duo, inspired by Rónán Hession’s subtle 2019 novel – takes a dim view at modern life; looking critically above its prematurely middle-aged glasses toward anything in the way of unnecessary noise, abrupt changes or – goodness forbid – too much drive. The program is, instead, a celebration of shyness; a quiet celebration of those satisfied to pootle around away from attention. However. The character (one more sublimely idiosyncratic portrayal from the star) is uneasy. He feels an increasing “need to open the openings of my life … just a bit.” The recent death of his mother has yanked the floor away from his feet and the 32-year-old, a writer for others, now feels questioning the paths that directed him to where he is (alone; with a protective mustache; working on multiple kids' reference books for a man who signs off messages saying “goodbye for now”).

Thus Leonard starts himself on a quest to find happiness, alongside his more outgoing Paul (Laurie Kynaston) functioning as his close companion, guide and ally in a weekly game night functioning as both symposium (“Does the pool feel warm due to children urinating, or do kids pee in it because it’s warm?”) and sanctuary.

(Why “Hungry” Paul? The reason is unknown. The beginning of the nickname is shrouded to the mists of time. Maybe the postal worker on one occasion consumed a snack in record time, or answered to a tense moment by hastily opening four scotch eggs using his teeth).

Entering Leonard's quiet life comes a vibrant character (the performer), a fresh energetic colleague who lightheartedly proposes to get rid of his terrible supervisor (the actor) during the office fire drill. That whooshing sound you can hear is Leonard’s gentle world experiencing a revolution.

In another part in the initial show of this program focused less on story and more on what a modern audience may refer to as “vibes”, viewers encounter the older generation (the consistently great the actor), a battered sofa of a man who covertly observes, tapes and rewatches television game programs to dazzle his adoring wife through his fact recall.

Shepherding viewers amidst this subtle warmth is a narrator that sounds very much like – and, indeed, very much is – the Hollywood icon. Yes, the star. In case you're considering, “undoubtedly the use of a big-name celebrity is at odds with the show's modest approach and starts off as just an interruption?” that's accurate. However, Roberts does a good job, and dialogue for example “The issue with Leonard is his absence of an expression of discovery” contribute to ensuring that early misgivings give way though not complete approval, then at minimum tolerance.

Enough complaining at this time. Leonard and Hungry Paul’s heart has good intentions: which is “located on a seat alongside similar shows, pointing out its favourite duck.” It’s a series that moves gently wearing its simple clothes, occasionally looking up toward the sky, at other times looking toward the ground, serenely certain that there is nothing in life as uplifting as spending time alongside good friends.

Throw open the portals within your world, a little, and allow it entry.