The story lines in this season have been taut, as Don Draper’s philandering has gotten him thrown out of the house; Roger Sterling’s life has taken a change, and the whole future of the agency seems to be in question, even as the Cuban Missile Crisis simmers outdoors. The season has been a coming out for Peggy, so wonderfully played by Elisabeth Moss. She’s risen from the starter secretary last year to a copywriter trying to find her way among the boys’ club of the creative team this year.

Even so, she tries to balance her relationship to her church, her son being raised by relatives, and men (she seems to pick the wrong ones, though one took her to a Bob Dylan concert). The horizons have been expanded in the show, from the relatively new realm of television advertising to trips to the West Coast that take them outside of Madison Avenue. Audiences ought to expand as well for a new season next summer.

Details have not been nailed down; creator Matthew Weiner has not yet been retained to remain its main writer and executive producer. So the early 1960s era may be more fleeting than we realize. As for “30 Rock,” the writing is as sharp and dense as ever. And though it’s not considered a serial, there are several story lines continued from last season: the success of Tracy’s video game, the fate of Jack’s government job, the continuing attempt of Tina Fey’s Liz Lemon to adopt.

This brings in Megan Mullally as an agency evaluator. Paired with the still-strong “The Office” (NBC, Thursday 9 p.m.), it’s the strongest hour of comedy on network TV. Scary Fare Halloween comes this week and with it the usual fare, from the annual showing of “It’s the Great Pumpkin, Charlie Brown” (ABC, Tuesday, 8 p.m.) to a parody of it next Sunday on “The Simpsons” (Fox, Nov. 2, 8 p.m.).