
They have the rare talent of always being in the wrong place.
Technical sheet
Credits
Nora and James are an elderly couple who have been booked by the New York Police Department more times than they can count. Numbers 48294 and 48265. They are not criminals. They do not go looking for trouble. They simply possess, as the narrator puts it, the rare talent of always being in the wrong place.
Last November, Nora found herself in the middle of an armed robbery, mistook the masked man for someone else entirely, and began hitting him with her handbag. That is not why they are at the police station this time. Each episode explains a different incident, and each explanation makes things slightly worse.
The series is built as an anthology of alibis: mugshot, flashback, disaster, mugshot again. The comedy comes from the gap between how calmly the narrator describes events and how catastrophic they are — a robbery, an ambulance, a launch at the Kennedy Space Center that does not go according to plan.
It gave us the hardest brief we could set ourselves: two recurring faces, one period, three episodes, and a 1967 New York that has to be believable in a storefront, a police cell, a fast-food counter and a NASA control room.
How it was made
Cars, storefronts, uniforms, hairstyles, the exact yellow of a sign. Period work is unforgiving because a single wrong object breaks the whole frame — and unlike a real production, there is no prop master to catch it. Everything is caught in the writing of the shot.
Nora and James appear in mugshots, in wide street shots, in a car interior, behind bars, in silver spacesuits. The audience has to recognise them instantly every time, or the running joke has nothing to run on.
We generated the set as well as the film: dolly, boom operator, video village, clapperboard. Not as a gimmick — as a way of thinking. We plan these productions the way we planned television productions, and the images below are what that planning looks like.
Stills








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Episode 1
Episode 2
Episode 3
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