🔗 Share this article

In a calm neighborhood of Dublin, a person can be found on the pavement, wearing a sleeveless jumper and sharing his concerns. “I feel I'm becoming more silent. More invisible,” states Leonard, staring up at the night sky. “Events have unfolded and at this point it seems unless I take action, my life will proceed in this minor, harmless existence.” Hungry Paul, Leonard’s best and only friend, reflects on these words. “That's perfectly fine,” he replies, his dressing gown moving gently. “Superior to trying to make a mark only to wind up defacing it.”

For viewers exhausted by the noise and rat-tat-tat of modern television offerings, the show arrives similar to a warm cover and a comforting beverage of Ribena.

Like its gentle leads, the series – a six-episode program developed by its authors, based on Rónán Hession’s understated 2019 novel – casts a critical eye on contemporary society; peering critically through its eyewear toward anything in the way of unnecessary noise, quick actions or – heaven forfend – too much drive. This show is, instead, an ode to introversion; a subtle homage to people happy to wander out of the spotlight. However. The character (one more distinctly original portrayal from Alex Lawther) is uneasy. He feels a growing “urge to throw open the openings 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 feels doubting the paths that have brought him to where he is (single; defensively moustached; working on multiple educational volumes for an employer who signs off emails with the phrase “see you later”).

And so Leonard begins an exploration for personal satisfaction, alongside his more outgoing Hungry Paul (the performer) functioning as his confidante, guide and ally in a weekly gaming session which acts as symposium (“Does the pool feel warm due to children urinating, or do kids pee in it as it's heated?”) and safe space.

(How did Paul get his nickname? It's unclear. The beginning of this name is shrouded to the mists of time. Maybe Paul on one occasion consumed a sandwich unusually quickly, or responded to a tense moment by hastily opening several snacks by biting into them).

Arriving in Leonard's calm existence bursts Shelley (the performer), a fresh energetic co-worker who lightheartedly proposes to eliminate his terrible supervisor (the character) in a workplace safety exercise. The rushing noise noticeable represents Leonard's calm life undergoing a shake-up.

Elsewhere during the opening installment of the comedy driven less by plot and centered around what the under-30s could describe as “atmosphere”, viewers encounter Paul's father (the brilliant the actor), a battered sofa of a man who privately views, saves and reviews television game programs to amaze his adoring wife with his general knowledge.

Leading the audience throughout this gentle kindness we hear a narrator that sounds very much like – and actually is – the Hollywood icon. Yes, the celebrity. Should you wonder, “surely the presence of a major Hollywood star clashes with the series’ unshowy MO and initially serves only as a diversion?” that's accurate. However, Roberts does a good job, and dialogue like “Leonard’s problem is the missing a look of sudden insight” assist in making sure that first reservations fade if not quite to appreciation, then at least acceptance.

No more criticism at this time. The show's core has good intentions: that place is “located on a seat alongside similar shows, indicating its preferred bird.” It’s a series that ambles along in comfortable attire, occasionally looking up toward the sky, at other times looking toward the ground, calmly assured that nothing is in life as cheering as being alongside good friends.

Open the doors and windows of your life, just a bit, and welcome it inside.