Hank has budget concerns over the Time Bureau. Mona starts working as a handler for the prisoners. The Legends take a trip to 1920s Paris and Nate makes a choice.

This is adorable, once again. The show’s usual controlled skid through the emotions is centred on Nate and Hank this week and it works a treat. Nick Zano has always played Nate as an unusually grounded version of Ray and he bounces off Hank perfectly here. There’s the father/son dynamic but there’s also the collision between the hero and the bureaucrat and both men play it to maximum dramatic effect as well as for maximum laughs. Tom Wilson is always good value but here he’s on top form. Who else could sell singing a minotaur to sleep the same episode he geeks out over Hemingway? Plus for the first time this season his bond with Nate feels real and sweet. And, crucially, evolving.

And speaking of evolving, Nate himself grows up this week. Amaya/Charlie is only the final step in the gradual move he’s made away from the ship and it’s explored here with some touching and very sweet moments with him and Sara. Although he is right to be grumpy about them having D&D night without him. Please let us get that as a bottle show…

But arguably the most fun this week is Mona, Ava and Mona trapped in a cell together. Not because it isn’t corny (it really is) but because the three women bond really easily and in really fun ways. Mona in particular fits right in and the payoff with Ray’s ‘letter’ is almost improbably cute.

There’s nothing with the weight of last week’s plot here but that doesn’t matter. Instead you get a smart, funny, immensely weird and vastly nerdy trip into the weirdest part of the Arrowverse and it’s a blast, once again. 9/10

Alasdair Stuart