The story feels thinner this time, not simply 90 minutes shorter (though the finale’s pretty terrific). Monae works in stealth mode, carefully controlling each reaction and interaction. Generally that approach works, though I suspect she has looser, more surprising work ahead of her. When Monae loosens up with Chau (when the material allows it, that is), the series discovers a valuable human element. Conspiracy thrillers can be about people, or they can be about plot, or they can be about both, which is very, very difficult. At its best season two manages both, and among its adroit plusses, there’s a clever original score by composer Emile Mosseri (“The Last Black Man in San Francisco”), taking things away from the first season’s brazen soundtrack-sampling of Bernard Herrmann, Ennio Morricone and other giants.