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In a peaceful area of Dublin, a man stands in his driveway, dressed in a sleeveless jumper and sharing his thoughts. “I feel myself getting quieter. Harder to see,” states the protagonist, gazing up at the night sky. “Circumstances have evolved and at this point I believe if I don’t do something, I will continue in this simple, peaceful routine.” His friend Paul, his closest and only friend, ponders this statement. “Nothing wrong with that,” he replies, his robe swaying in the breeze. “Preferable to striving for recognition only to wind up defacing it.”

For anyone exhausted by the chaos and rat-tat-tat of today’s TV terrain, the show steps in as a foil blanket and warming mug of a sweet cordial.

Like its harmless protagonists, the series – a six-episode show developed by Richie Conroy and Mark Hodkinson, based on Rónán Hession’s subtle 2019 novel – looks disapprovingly on contemporary society; looking skeptically above its eyewear at anything in the way of disturbances, abrupt changes or – perish the thought – excessive aspiration. The series on the contrary, an ode to introversion; a subtle homage of those happy to amble along below the parapet. But. The character (a further uniquely quirky portrayal from Alex Lawther) feels restless. He feels an increasing “need to open the openings of my life … just a bit.” The recent death of his mother has pulled the carpet away from his feet and the 32-year-old, a writer for others, now feels reconsidering the choices which led him to his current situation (alone; sporting facial hair; working on a range of kids' reference books for a boss who concludes emails using the words “ciao for now”).

Therefore Leonard launches himself on a quest for emotional fulfilment, accompanied by the somewhat braver Paul (the performer) acting as his close companion, mentor and co-conspirator during their regular game night functioning as both discussion (“Does the pool feel warm because kids pee in it, or do kids pee in it as it's heated?”) and sanctuary.

(How did Paul get his nickname? The reason is unknown. The beginning of the moniker appears lost in mystery. It could be that the postal worker previously devoured some food in record time, or reacted to an awkward situation by panic-peeling four scotch eggs with his teeth).

Entering Leonard's quiet life cartwheels a vibrant character (Jamie-Lee O’Donnell), a recent spring-loaded associate who lightheartedly proposes to eliminate his terrible supervisor (Paul Reid) at a fire practice. The rushing noise noticeable signals Leonard's peaceful routine being turned upside down.

In other scenes in the initial show of a series focused less on story and more by what younger viewers might call “vibes”, we are introduced to the older generation (the consistently great Lorcan Cranitch), a battered sofa of a man who covertly observes, saves and reviews trivia competitions to amaze his loving spouse through his fact recall.

Shepherding viewers through all this gentle kindness there is a voiceover that is unmistakably – and actually is – the Hollywood icon. Indeed, the celebrity. If you are thinking, “surely the inclusion of a big-name celebrity contradicts the series’ unshowy MO and at first acts merely as an interruption?” that's accurate. Still, Roberts acquits herself well, and lines such as “The issue with Leonard is the missing a look of sudden insight” help ensure that early misgivings give way if not quite to appreciation, then at minimum tolerance.

Enough complaining for now. The series' spirit is in the right place: which is “sitting on a park bench next to the Detectorists, pointing out its preferred bird.” This is a show that moves gently in its sleeveless jumper, at times staring into space, sometimes downward at its feet, quietly confident that nothing is on Earth as cheering as passing time with close companions.

Unlock the entryways of your life, slightly, and welcome it inside.