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In a peaceful suburb of the city, a man is standing in his driveway, dressed in a vest and voicing his feelings. “I feel my voice is fading. Harder to see,” says the main character, staring up at the night sky. “One thing’s led to another and now I believe if I don’t do something, I will continue in this minor, harmless existence.” Paul, Leonard’s best companion, considers these words. “Nothing wrong with that,” he answers, his bathrobe moving in the breeze. “Superior to trying to make a mark and causing harm instead.”

For viewers exhausted by the noise and constant stimulation of modern television offerings, this series steps in similar to a cozy wrap with a hot drink of blackcurrant juice.

Like its quiet characters, Leonard and Hungry Paul – a six-episode show developed by its authors, inspired by the author’s understated book – casts a critical eye at modern life; looking skeptically through its prematurely middle-aged glasses toward anything that involves unnecessary noise, quick actions or – heaven forfend – too much drive. The program is, instead, an ode to introversion; a gentle tribute for those satisfied to wander out of the spotlight. However. Leonard (one more distinctly original turn from Alex Lawther) feels restless. He notices an increasing “need to open the entryways of my life … just a bit.” The passing of his beloved mother has yanked the floor away from his feet and Leonard, a writer for others, now finds himself doubting the paths which led him to where he is (single; defensively moustached; working on multiple children’s encyclopedias for a boss who concludes messages with the phrase “see you later”).

Therefore Leonard begins himself on a quest for personal satisfaction, with the slightly bolder Paul (the performer) serving as his trusted friend, mentor and co-conspirator in a recurring gaming session functioning as both symposium (“Is the water heated due to children urinating, or do kids pee in it since it's warm?”) and sanctuary.

(What's the origin of "Hungry" Paul? No idea. The beginning of the nickname seems forgotten to the mists of time. Maybe he once ate some food unusually quickly, or reacted to a tense moment by hastily opening four scotch eggs using his teeth).

Arriving in Leonard's calm existence cartwheels a new colleague (the actress), a new energetic colleague who happily suggests to kill his terrible supervisor (Paul Reid) at a fire practice. The swift movement audible signals Leonard's peaceful routine experiencing a revolution.

In another part in the initial show of the comedy not heavily plotted and more by what younger viewers might call “vibes”, we are introduced to Paul's father (the ever-wonderful the performer), a worn-out individual who secretly watches, saves and reviews television game programs to impress his loving spouse with his general knowledge.

Shepherding viewers amidst this gentle kindness there is a voiceover that sounds very much like – and truly is – the famous actress. Yes, the celebrity. If you are thinking, “surely the presence of a big-name celebrity clashes with the show's modest approach and starts off as just an interruption?” you would be correct. Nevertheless, the actress performs admirably, and dialogue like “The issue with Leonard is the missing an expression of discovery” help ensure that initial doubts give way though not complete approval, then at minimum tolerance.

But that’s enough grumbling currently. Leonard and Hungry Paul’s heart is in the right place: the right place being “resting on a bench alongside similar shows, indicating its preferred bird.” The program that moves gently wearing its simple clothes, at times staring toward the sky, at other times looking toward the ground, quietly confident that no experience is on Earth as cheering as passing time alongside close companions.

Open the doors and windows within your world, slightly, and welcome it inside.