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In a peaceful area of the city, a person can be found outside his home, dressed in a sleeveless jumper and voicing his feelings. “I notice my voice is fading. Harder to see,” remarks the protagonist, looking up at the night sky. “Circumstances have evolved and currently I believe unless I take action, I’ll just carry on in this quiet, unremarkable life.” Paul, Leonard’s best and only friend, considers this statement. “That's perfectly fine,” he answers, his robe flapping with the wind. “Better than attempting to leave an impact only to wind up defacing it.”

For viewers tired by the chaos and fast pace of today’s TV terrain, the show steps in like a warm cover and warming mug of a sweet cordial.

Similar to its harmless protagonists, the series – a six-episode comedy developed by its authors, based on the novelist’s quiet 2019 novel – looks disapprovingly toward today's world; gazing disapprovingly through its eyewear on everything related to disturbances, abrupt changes or – perish the thought – too much drive. The program rather, an ode to introversion; a subtle homage of those happy to amble along below the parapet. But. He (a further distinctly original turn from the star) is uneasy. He feels a growing “urge to throw open the openings of my life … just a bit.” The passing of his parent has yanked the floor out from under him and this young man, a writer for others, now finds himself reconsidering the choices which led him to this point (alone; with a protective mustache; working on several kids' reference books for a boss who ends messages with the phrase “see you later”).

Therefore Leonard starts on a journey to find happiness, accompanied by the somewhat braver friend Paul (Laurie Kynaston) acting as his trusted friend, life coach and partner during their regular board games evening which acts as debate (“Is the water heated because kids pee in it, or is it that kids pee because it’s warm?”) and refuge.

(What's the origin of "Hungry" Paul? It's unclear. The beginning of this name is shrouded to the mists of time. Perhaps Paul on one occasion consumed some food in record time, or answered to a socially fraught incident by hastily opening four scotch eggs by biting into them).

Arriving in Leonard's calm existence bursts a new colleague (Jamie-Lee O’Donnell), a fresh lively colleague who lightheartedly proposes to get rid of his terrible supervisor (Paul Reid) at a fire practice. That whooshing sound noticeable represents Leonard's calm life undergoing a shake-up.

In other scenes in the initial show of the comedy driven less by plot and more by what a modern audience could describe as “mood”, we meet the older generation (the brilliant the performer), a tired character who secretly watches, tapes and rewatches daytime quiz shows to impress his adoring wife using his trivia skills.

Leading the audience amidst this gentle kindness is a narrator that is unmistakably – and actually is – the Hollywood icon. Indeed, Julia Roberts. If you are thinking, “certainly the inclusion of a major Hollywood star is at odds with the show's modest approach and starts off as just a distraction?” you're right. Nevertheless, Roberts acquits herself well, and phrases like “Leonard's challenge is that he lacks a ‘eureka’ face” contribute to ensuring that initial doubts fade if not full admiration, then at least acceptance.

No more criticism at this time. Leonard and Hungry Paul’s heart is in the right place: the right place being “resting on a bench alongside similar shows, pointing out its favourite duck.” It’s a series that ambles along in comfortable attire, sometimes gazing upward at the stars, sometimes downward toward the ground, calmly assured that nothing is in the world as uplifting as being alongside close companions.

Open the doors and windows within your world, just a bit, and allow it entry.