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In a calm neighborhood of the city, a person is standing in his driveway, wearing a sleeveless jumper and voicing his feelings. “I notice myself getting quieter. Less noticeable,” says the main character, looking toward the stars. “One thing’s led to another and at this point I believe if I don’t do something, I’ll just carry on in this minor, harmless existence.” Hungry Paul, Leonard’s best and only friend, considers the idea. “Nothing wrong with that,” he replies, his dressing gown flapping gently. “Better than attempting to leave an impact and causing harm instead.”

For those exhausted by the chaos and fast pace of modern television offerings, the show steps in like a warm cover and a comforting beverage of blackcurrant juice.

Like its harmless protagonists, the series – a half-dozen installment show developed by its authors, inspired by Rónán Hession’s quiet book – takes a dim view on contemporary society; looking disapprovingly through its prematurely middle-aged glasses on everything that involves loud sounds, sudden movements or – perish the thought – excessive aspiration. The program is, instead, an ode to introversion; a quiet celebration to people satisfied to amble along out of the spotlight. However. The character (one more uniquely quirky portrayal from Alex Lawther) is unsettled. He senses a growing “need to open the doors and windows in my existence … just a bit.” The loss of his parent has yanked the floor from under his slippers and the 32-year-old, an anonymous author, now realizes doubting the choices that have brought him to his current situation (single; defensively moustached; creating multiple children’s encyclopedias for an employer who concludes messages with the phrase “goodbye for now”).

Therefore Leonard begins on a journey for emotional fulfilment, accompanied by the somewhat braver friend Paul (the actor) serving as his trusted friend, guide and partner in a recurring game night functioning as both symposium (“Does the pool feel warm from kids relieving themselves, or do kids pee in it because it’s warm?”) and sanctuary.

(Why “Hungry” Paul? It's unclear. The beginning of the moniker appears lost in mystery. It could be that he once ate a sandwich very fast, or reacted to an awkward situation by nervously peeling several snacks using his teeth).

Into Leonard’s gentle world cartwheels Shelley (the performer), a fresh energetic colleague who lightheartedly proposes to get rid of his terrible supervisor (the character) at a fire practice. The rushing noise you can hear represents Leonard's calm life being turned upside down.

Elsewhere in the initial show of the comedy focused less on story and centered around what a modern audience might call “atmosphere”, viewers encounter Paul's father (the brilliant the actor), a battered sofa of a man who covertly observes, saves and reviews daytime quiz shows to amaze his adoring wife through his fact recall.

Leading us through all this subtle warmth there is a voiceover who closely resembles – and, indeed, very much is – Julia Roberts. Truly, Julia Roberts. If you are thinking, “surely the use of a big-name celebrity contradicts the show's modest approach and at first acts merely as an interruption?” you're right. However, Roberts acquits herself well, and dialogue for example “Leonard's challenge is that he lacks an expression of discovery” help ensure that first reservations give way if not quite to appreciation, then at minimum tolerance.

But that’s enough grumbling for now. The series' spirit is in the right place: the right place being “located on a seat next to the Detectorists, showing its favourite duck.” This is a show that ambles along in its sleeveless jumper, occasionally looking up toward the sky, sometimes downward toward the ground, quietly confident that there is nothing in life as uplifting as spending time alongside good friends.

Unlock the entryways of your life, just a bit, and let it in.