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In a quiet area of the Irish capital, a man can be found on the pavement, dressed in a sleeveless jumper and voicing his thoughts. “I notice myself getting quieter. Less noticeable,” says the protagonist, staring into the darkness. “Circumstances have evolved and at this point I believe unless I take action, my life will proceed in this simple, peaceful routine.” His friend Paul, his only and only friend, ponders these words. “That's perfectly fine,” he replies, his bathrobe flapping with the wind. “Superior to striving for recognition and ending up damaging things.”

For anyone tired by the bluster and constant stimulation of current streaming offerings, Leonard and Hungry Paul arrives similar to a foil blanket and a comforting beverage of Ribena.

In line with its quiet characters, the series – a six-episode show created by the writing duo, inspired by the novelist’s quiet story – casts a critical eye on contemporary society; looking disapprovingly above its spectacles at anything that involves loud sounds, abrupt changes or – perish the thought – too much drive. The series is, instead, an ode to introversion; a quiet celebration for those happy to pootle around out of the spotlight. However. Leonard (another distinctly original performance from the star) feels restless. He feels a creeping “urge to throw open the entryways in my existence … slightly.” The passing of his mother has pulled the carpet away from his feet and this young man, a writer for others, now realizes doubting the paths that have brought him to this point (unattached; sporting facial hair; writing a range of kids' reference books for a man who ends correspondence using the words “ciao for now”).

And so Leonard starts himself on a quest for personal satisfaction, with the slightly bolder Hungry Paul (the actor) serving as his trusted friend, mentor and partner in a weekly board games evening functioning as both symposium (“Is the pool warm because kids pee in it, or do kids pee in it since it's warm?”) and refuge.

(How did Paul get his nickname? It's unclear. The source of the nickname seems forgotten to the mists of time. It could be that Paul previously devoured a sandwich in record time, or reacted to a socially fraught incident by panic-peeling four scotch eggs using his teeth).

Arriving in Leonard's calm existence cartwheels a new colleague (the actress), a fresh lively associate who happily suggests to eliminate the awful manager (the character) at a fire practice. The swift movement noticeable is Leonard’s gentle world being turned upside down.

In another part in the first episode of a series driven less by plot and centered around what the under-30s could describe as “atmosphere”, we meet the older generation (the consistently great the performer), a worn-out individual who secretly watches, records then replays daytime quiz shows to dazzle his loving spouse through his fact recall.

Leading viewers through all this gentle kindness we hear a narrator that is unmistakably – and truly is – the Hollywood icon. Indeed, the celebrity. Should you wonder, “undoubtedly the use of such a famous actor contradicts the show's modest approach and initially serves only as a diversion?” you're right. Nevertheless, Roberts acquits herself well, and dialogue for example “Leonard’s problem is his absence of an expression of discovery” assist in making sure that initial doubts give way if not quite to appreciation, then at least acceptance.

No more criticism currently. Leonard and Hungry Paul’s heart is in the right place: the right place being “resting on a bench in the company of gentle comedies, showing its preferred bird.” This is a show that moves gently in its sleeveless jumper, at times staring into space, sometimes downward at its slippers, quietly confident that there is nothing in the world as cheering as being in the company of dear pals.

Open the doors and windows within your world, slightly, and allow it entry.