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In a peaceful area of the Irish capital, a man stands in his driveway, wearing a tank top and voicing his thoughts. “I notice I'm becoming more silent. Harder to see,” says Leonard, looking into the darkness. “One thing’s led to another and now I believe unless I take action, my life will proceed in this quiet, unremarkable life.” Paul, his closest and only friend, ponders the idea. “That's perfectly fine,” he replies, his bathrobe moving in the breeze. “Superior to attempting to leave an impact and ending up damaging things.”

For those weary by the bluster and constant stimulation of modern television landscape, the show comes like a cozy wrap and warming mug of blackcurrant juice.

Similar to its gentle leads, this comedy – a half-dozen installment comedy created by its authors, adapted from the novelist’s subtle book – looks disapprovingly on contemporary society; looking skeptically above its spectacles on everything related to loud sounds, abrupt changes or – heaven forfend – an abundance of ambition. This show on the contrary, a tribute to quiet people; a gentle tribute for those satisfied to amble along out of the spotlight. But. Leonard (a further sublimely idiosyncratic turn from the star) is uneasy. He notices a growing “need to open the entryways in my existence … slightly.” The recent death of his mother has whisked the rug away from his feet and the 32-year-old, a ghost writer, now realizes questioning the decisions that have brought him to this point (unattached; sporting facial hair; creating multiple kids' reference books for a boss who ends correspondence with the phrase “ciao for now”).

Thus Leonard launches an exploration for personal satisfaction, with the slightly bolder Hungry Paul (the actor) acting as his close companion, mentor and partner in a recurring gaming session that serves both as symposium (“Is the water heated because kids pee in it, or do children urinate because it’s warm?”) and refuge.

(How did Paul get his nickname? It's unclear. The source of the moniker seems forgotten in history. Maybe he on one occasion consumed a sandwich unusually quickly, or answered to a tense moment by nervously peeling four scotch eggs using his teeth).

Arriving in Leonard's calm existence comes a new colleague (the actress), a new spring-loaded associate who lightheartedly proposes to eliminate Leonard’s appalling boss (Paul Reid) at a fire practice. The swift movement audible represents Leonard's calm life experiencing a revolution.

Elsewhere in the first episode of the comedy focused less on story and centered around what the under-30s might call “mood”, viewers encounter Hungry Paul’s dad (the ever-wonderful the actor), a worn-out individual who privately views, tapes and rewatches trivia competitions to dazzle his adoring wife with his general knowledge.

Shepherding us throughout this minor-key niceness there is a voiceover that sounds very much like – and actually is – Julia Roberts. Indeed, the star. In case you're considering, “certainly the use of such a famous actor contradicts the program's low-key style and initially serves only as a distraction?” you're right. However, Roberts does a good job, and lines for example “The issue with Leonard is the missing a ‘eureka’ face” contribute to ensuring that early misgivings fade if not quite to appreciation, then certainly understanding.

But that’s enough grumbling for now. The show's core is well-intentioned: which is “sitting on a park bench in the company of gentle comedies, pointing out the duck it loves.” The program that strolls leisurely in its sleeveless jumper, occasionally looking up into space, at other times looking toward the ground, calmly assured that nothing is on Earth as heartening as passing time with dear pals.

Unlock the entryways of your life, slightly, and allow it entry.