Nearing the end of my trip through the Honey West series, I had pretty much given up hope of seeing another "good" episode. After watching Honey and Sam battle a gorilla, chase a Robin Hood wannabe, fight a ridiculous looking robot, and see Honey in the worst gypsy disguise imaginable, Honey West had long since "jumped the shark" in my mind. Imagine my surprise and delight to discover the final episode, An Eerie, Airy, Thing, is one of the best of the entire series. First, the episode features real suspense. There is a real mystery here for Honey to get to the bottom of. There are unexpected twists and turns thrown at Honey and Sam. It's a very nicely written episode. Second, An Eerie, Airy, Thing has a much more serious (and welcome) tone than the episodes that immediately preceded it. Don't misunderstand, I love the campy feel, gadgets, and overall grooviness of some of the early episodes. However, toward the end, things had gone way too far. An Eerie, Airy, Thing brings it back to Earth for the series finale. A fitting end to a one of a kind series. I'll give An Eerie, Airy, Thing an 8/10.
2 Reviews
One of the best if not the best episode of "Honey West"
Miles-104 October 2008
This series finale, written by William Link and Richard Levinson ("Columbo") is arguably the best "Honey West" of all. At that, it is not great so much as well above average for the rest of the show.
First, the story creates tension immediately. A man stands on the upper-storey ledge of a hotel, threatening to jump. Everyone else reacts to this dramatic situation.
Second, as Honey and Sam try to help resolve this crisis, they face obstacles that become puzzles that turn into riddles. The applicable cliché is "The plot thickens"; and this is a cliché precisely because it describes what a well-told story should do. Honey solves the riddles with a Jessica Fletcher-like insightfulness that is not alien to her character but is rarely so well employed as it is here.
Many of the gimmicks familiar from other "Honey West" stories are missing. There are no radios hidden in martini glasses, and Honey's solitary use of martial arts is off-camera. The tone is realistic rather than cartoonish and the comic relief in the denouement is both funny and appropriate to the story that has preceded rather than merely based on some strained pun.
First, the story creates tension immediately. A man stands on the upper-storey ledge of a hotel, threatening to jump. Everyone else reacts to this dramatic situation.
Second, as Honey and Sam try to help resolve this crisis, they face obstacles that become puzzles that turn into riddles. The applicable cliché is "The plot thickens"; and this is a cliché precisely because it describes what a well-told story should do. Honey solves the riddles with a Jessica Fletcher-like insightfulness that is not alien to her character but is rarely so well employed as it is here.
Many of the gimmicks familiar from other "Honey West" stories are missing. There are no radios hidden in martini glasses, and Honey's solitary use of martial arts is off-camera. The tone is realistic rather than cartoonish and the comic relief in the denouement is both funny and appropriate to the story that has preceded rather than merely based on some strained pun.
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