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In a quiet area of the city, a person can be found in his driveway, wearing a sleeveless jumper and voicing his thoughts. “I feel I'm becoming more silent. Harder to see,” states the protagonist, looking into the darkness. “One thing’s led to another and currently I feel like unless I take action, my life will proceed in this simple, peaceful routine.” His friend Paul, Leonard’s best and only friend, reflects on these words. “That's perfectly fine,” he replies, his bathrobe flapping in the breeze. “Better than trying to make a mark only to wind up defacing it.”

For viewers tired by the chaos and rat-tat-tat of current streaming offerings, this series comes similar to a foil blanket and a comforting beverage of a sweet cordial.

In line with its harmless protagonists, the series – a six-episode program created by Richie Conroy and Mark Hodkinson, inspired by Rónán Hession’s subtle story – casts a critical eye on contemporary society; gazing skeptically through its eyewear at anything that involves unnecessary noise, quick actions or – perish the thought – an abundance of ambition. The program is, instead, an ode to introversion; a gentle tribute of those content to amble along below the parapet. And yet. Leonard (a further sublimely idiosyncratic portrayal by the actor) feels restless. He notices a creeping “urge to throw open the openings of my life … just a bit.” The recent death of his parent has whisked the rug from under his slippers and Leonard, a ghost writer, now finds himself doubting the decisions which led him to this point (alone; defensively moustached; creating multiple children’s encyclopedias for a boss who signs off messages using the words “see you later”).

Thus Leonard begins on a journey for personal satisfaction, with the slightly bolder Hungry Paul (the actor) serving as his trusted friend, mentor and co-conspirator during their regular game night that serves both as symposium (“Does the pool feel warm from kids relieving themselves, or do children urinate since it's warm?”) and refuge.

(Why “Hungry” Paul? The reason is unknown. The beginning of the nickname appears lost in history. Maybe the postal worker on one occasion consumed some food very fast, or responded to an awkward situation by hastily opening four scotch eggs using his teeth).

Entering Leonard's quiet life cartwheels Shelley (Jamie-Lee O’Donnell), a recent lively associate who cheerily offers to get rid of Leonard’s appalling boss (Paul Reid) in a workplace safety exercise. That whooshing sound you can hear is Leonard’s gentle world being turned upside down.

In another part in the first episode of this program not heavily plotted and more on what a modern audience might call “vibes”, viewers encounter the older generation (the brilliant the actor), a battered sofa of a man who privately views, tapes and rewatches television game programs to dazzle his devoted partner using his trivia skills.

Shepherding the audience amidst this subtle warmth is a narrator that is unmistakably – and, indeed, very much is – the Hollywood icon. Indeed, Julia Roberts. If you are thinking, “undoubtedly the inclusion of such a famous actor is at odds with the show's modest approach and at first acts merely as a distraction?” you're right. Still, Roberts does a good job, and phrases such as “Leonard's challenge is his absence of an expression of discovery” contribute to ensuring that early misgivings give way though not complete approval, then at minimum tolerance.

No more criticism for now. The series' spirit has good intentions: which is “resting on a bench alongside similar shows, indicating the duck it loves.” It’s a series that ambles along wearing its simple clothes, at times staring at the stars, at other times looking at its feet, serenely certain that nothing is in the world as heartening as passing time in the company of close companions.

Throw open the portals of your life, just a bit, and allow it entry.