🔗 Share this article

In a quiet neighborhood of Dublin, a person can be found on the pavement, sporting a vest and expressing his feelings. “It seems like my voice is fading. Harder to see,” states Leonard, staring toward the stars. “One thing’s led to another and currently it seems without a change, I will continue in this minor, harmless existence.” Paul, his only and only friend, reflects on this statement. “That's perfectly fine,” he replies, his robe flapping with the wind. “Better than trying to make a mark only to wind up defacing it.”

For those tired by the bluster and fast pace of current streaming offerings, the show comes similar to a warm cover with a hot drink of a sweet cordial.

Similar to its quiet characters, this comedy – a six-episode program developed by Richie Conroy and Mark Hodkinson, based on the novelist’s quiet story – takes a dim view on contemporary society; peering skeptically over its eyewear toward anything that involves disturbances, abrupt changes or – perish the thought – an abundance of ambition. The series on the contrary, a celebration of shyness; a subtle homage to people satisfied to amble along away from attention. And yet. Leonard (a further distinctly original performance by the actor) is uneasy. He notices an increasing “desire to unlock the entryways in my existence … slightly.” The loss of his mother has yanked the floor away from his feet and Leonard, an anonymous author, now feels reconsidering the choices which led him to his current situation (unattached; sporting facial hair; writing multiple kids' reference books for a man who concludes emails using the words “ciao for now”).

Therefore Leonard begins himself on a quest for emotional fulfilment, alongside his more outgoing Paul (the actor) functioning as his trusted friend, guide and ally in a recurring gaming session which acts as symposium (“Is the water heated due to children urinating, or do children urinate because it’s warm?”) and sanctuary.

(How did Paul get his nickname? It's unclear. The source of the nickname appears lost in mystery. It could be that the postal worker previously devoured some food unusually quickly, or reacted to an awkward situation by panic-peeling several snacks with his teeth).

Arriving in Leonard's calm existence comes Shelley (the performer), a new energetic colleague who cheerily offers to kill his terrible supervisor (the character) during the office fire drill. That whooshing sound audible represents Leonard's calm life being turned upside down.

In another part during the opening installment of the comedy not heavily plotted and more by what a modern audience might call “vibes”, viewers encounter Paul's father (the consistently great the actor), a tired character who covertly observes, saves and reviews television game programs to amaze his devoted partner with his general knowledge.

Leading viewers through all this gentle kindness is a narrator that is unmistakably – and, indeed, very much is – Julia Roberts. Yes, the star. Should you wonder, “undoubtedly the presence of a major Hollywood star contradicts the series’ unshowy MO and at first acts merely as an interruption?” you're right. Still, Roberts does a good job, and lines for example “Leonard’s problem is his absence of an expression of discovery” help ensure that initial doubts give way if not full admiration, then at least acceptance.

No more criticism for now. The show's core is in the right place: which is “located on a seat in the company of gentle comedies, showing its favourite duck.” This is a show that moves gently in comfortable attire, occasionally looking up toward the sky, occasionally down at its feet, quietly confident that there is nothing in life as heartening as spending time with good friends.

Open the doors and windows in your existence, a little, and allow it entry.