Mona is framed for Konane’s escape and fired. She flees, meets him and sends him back in time. And in doing so, commits a mortal temporal sin: messes with Mexican wrestling cinema.

This episode has a lot to do. It sets up Nate’s major plot, rebuilds Mona from a distinctly uninteresting perky stereotype and has to both introduce the audience to Mexican wrestling cinema and land one of the major emotional beats of the season.

It does pretty well.

Mona first, because Ramona Young is great and hasn’t been well served so far this season. Her relationship with Konane feels real and has emotional depth to it. It also leads to her first moment of true courage when she chooses not to go back with him. In turn, it also means that when she hulks out there’s real darkness to it. Mona’s brand new, sure, but she’s got a lot to do and the show looks set to explore all of it. Bring it on.

The Nate plot is slightly less successful, thanks in no small part to the fact that Nick Zano and Tom Wilson are pathologically likable actors. As a result, this episode is more about moving them to where they need to be than making interesting choices and that chafes a bit.

Thankfully everything else works. Constantine being a lucha fan makes so much sense and Matt Ryan has massive fun throughout here. Plus the ‘Everyone loves a comeback!’ speech could easily apply to his take on the character. And speaking of that, wouldn’t a Constantine cameo on the newly resurrected Lucifer be lovely?

Most importantly, the death of Konane brings everything into focus. The Time Bureau are compromised. Hank is either complicit or an unwitting pawn and it doesn’t matter. The Legends are cut off from their support network and standing alone. Again. It’s a smart way to cut through the extra world building and give the show a sense of urgency again and it lands a strong episode well. 8/10

Alasdair Stuart