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In a quiet neighborhood of the Irish capital, an individual can be found in his driveway, dressed in a vest and voicing his thoughts. “I notice myself getting quieter. More invisible,” states the main character, looking into the darkness. “Events have unfolded and currently I believe if I don’t do something, I will continue in this simple, peaceful routine.” Paul, his closest companion, ponders these words. “That's perfectly fine,” he answers, his robe flapping with the wind. “Preferable to trying to make a mark only to wind up defacing it.”

For anyone weary by the bluster and constant stimulation of today’s TV landscape, the show comes similar to a warm cover and a comforting beverage of Ribena.

Similar to its quiet characters, this comedy – a six-episode comedy developed by the writing duo, inspired by the novelist’s understated story – casts a critical eye at modern life; peering skeptically through its prematurely middle-aged glasses on everything related to unnecessary noise, quick actions or – heaven forfend – too much drive. This show on the contrary, a celebration of shyness; a quiet celebration for those happy to wander below the parapet. However. He (a further sublimely idiosyncratic portrayal from the star) is uneasy. He notices a growing “urge to throw open the doors and windows within my world … a little.” The recent death of his beloved mother has pulled the carpet from under his slippers and Leonard, a writer for others, now realizes questioning the choices which led him to his current situation (single; sporting facial hair; writing several educational volumes for a boss who ends correspondence saying “ciao for now”).

Thus Leonard begins on a journey for emotional fulfilment, accompanied by the somewhat braver Paul (the performer) functioning as his confidante, mentor and co-conspirator in a recurring game night functioning as both symposium (“Is the pool warm because kids pee in it, or do children urinate because it’s warm?”) and safe space.

(What's the origin of "Hungry" Paul? The reason is unknown. The source of this name is shrouded to the mists of time. It could be that Paul previously devoured some food very fast, or answered to an awkward situation by hastily opening several snacks by biting into them).

Entering Leonard's quiet life comes a vibrant character (Jamie-Lee O’Donnell), a new spring-loaded associate who happily suggests to eliminate Leonard’s appalling boss (the actor) in a workplace safety exercise. That whooshing sound noticeable is Leonard’s gentle world being turned upside down.

Elsewhere during the opening installment of the comedy not heavily plotted and more on what the under-30s may refer to as “atmosphere”, we meet the older generation (the brilliant the actor), a battered sofa of a man who covertly observes, tapes and rewatches daytime quiz shows to impress his devoted partner through his fact recall.

Shepherding us throughout this gentle kindness is a narrator that is unmistakably – and truly is – the Hollywood icon. Truly, the star. Should you wonder, “certainly the presence of a major Hollywood star is at odds with the program's low-key style and starts off as just a distraction?” that's accurate. Nevertheless, Roberts does a good job, and dialogue for example “Leonard's challenge is that he lacks an expression of discovery” assist in making sure that early misgivings give way though not complete approval, then at least acceptance.

But that’s enough grumbling at this time. The show's core is well-intentioned: which is “resting on a bench in the company of gentle comedies, indicating its favourite duck.” The program that moves gently in its sleeveless jumper, occasionally looking up at the stars, at other times looking at its slippers, calmly assured that no experience is in the world as uplifting as spending time with close companions.

Unlock the entryways in your existence, a little, and allow it entry.