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In a calm neighborhood of Dublin, a man stands in his driveway, dressed in a tank top and expressing his feelings. “I notice I'm becoming more silent. More invisible,” states Leonard, gazing up at the night sky. “Circumstances have evolved and currently I feel like unless I take action, I’ll just carry on in this minor, harmless existence.” His friend Paul, his only confidant, ponders these words. “That's perfectly fine,” he replies, his dressing gown flapping with the wind. “Better than attempting to leave an impact and ending up damaging things.”

For those exhausted by the chaos and constant stimulation of modern television landscape, this series steps in as a warm cover and a comforting beverage of Ribena.

In line with its harmless protagonists, Leonard and Hungry Paul – a half-dozen installment comedy written by its authors, adapted from Rónán Hession’s subtle book – takes a dim view on contemporary society; peering disapprovingly over its prematurely middle-aged glasses toward anything that involves disturbances, sudden movements or – heaven forfend – an abundance of ambition. This show is, instead, an ode to introversion; a gentle tribute to people happy to pootle around below the parapet. But. The character (a further distinctly original performance from the star) feels restless. He notices an increasing “urge to throw open the openings of my life … slightly.” The loss of his mother has pulled the carpet away from his feet and the 32-year-old, an anonymous author, now feels questioning the decisions which led him to where he is (unattached; defensively moustached; working on multiple children’s encyclopedias for a man who concludes emails using the words “goodbye for now”).

And so Leonard launches himself on a quest to find happiness, accompanied by the somewhat braver Hungry Paul (the performer) serving as his confidante, guide and co-conspirator during their regular gaming session that serves both as discussion (“Is the water heated due to children urinating, or do children urinate since it's warm?”) and refuge.

(How did Paul get his nickname? The reason is unknown. The beginning of the nickname seems forgotten to the mists of time. Maybe the postal worker on one occasion consumed a snack in record time, or responded to a tense moment by panic-peeling some food items using his teeth).

Entering Leonard's quiet life bursts a new colleague (the performer), a fresh energetic associate who lightheartedly proposes to get rid of Leonard’s appalling boss (the character) during the office fire drill. The rushing noise you can hear represents Leonard's calm life experiencing a revolution.

Elsewhere during the opening installment of the comedy focused less on story and centered around what younger viewers might call “atmosphere”, viewers encounter Hungry Paul’s dad (the brilliant the actor), a worn-out individual who privately views, tapes and rewatches television game programs to impress his adoring wife using his trivia skills.

Leading viewers through all this subtle warmth there is a voiceover that sounds very much like – and, indeed, very much is – the famous actress. Yes, the star. In case you're considering, “undoubtedly the use of a major Hollywood star is at odds with the program's low-key style and initially serves only as a diversion?” you would be correct. Still, Roberts acquits herself well, and lines such as “Leonard's challenge is the missing a look of sudden insight” contribute to ensuring that first reservations give way if not full admiration, then at least acceptance.

Enough complaining currently. Leonard and Hungry Paul’s heart is in the right place: the right place being “located on a seat in the company of gentle comedies, indicating the duck it loves.” This is a show that strolls leisurely in its sleeveless jumper, occasionally looking up into space, occasionally down toward the ground, calmly assured that there is nothing in the world as heartening as being with dear pals.

Open the doors and windows within your world, slightly, and welcome it inside.