720/60 isn’t really a thing anymore. ESPN was a holdout on that format well into 2008 or so, and they would demand a single master to cover both SD and HD. I think it was the car companies that finally broke them. I certainly got tired of creating special ESPN versions which were both letterboxed and pillarboxed so the fronts and backs of cars weren’t getting chopped off when they center cropped the 16:9 master to pull the SD version.
But otherwise, you are correct. If you’re watching TV in the US, you are almost certainly watching a 59.94i signal. Everyone I’ve worked with uses 59/29 more or less interchangeably, which is confusing, since we’re definitely not talking about 59.94P (which is what ESPN had been running and which was a real headache).
Traffic houses mercifully started taking 23.98 .movs at some point in the 2010s, but either they or the broadcaster just rate convert somehow (either by adding pulldown or who knows what kind of awful realtime frame interpolation that I try not to think too much about).
I was actually part of a Fire/Smoke roadshow back in like 1999 where Discreet was pitching a “Universal Master” concept that had you finish at 23.98 and then just add whatever pulldown you needed to get to 25 or 59i. It didn’t help them sell many Fire systems, but the idea seems to have taken hold, even as interlacing has retreated to the background.