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I can't speak for those specific shows, but I know people who worked in television in the late-90s/early-2000s, and the standard practice was to compose for 4:3, but protect for 16:9, much like many feature films were composed for 1:85, but protected for 1.33.

True, but on the other hand, for the first 60 years or so of cinema, no one much complained that the screen only came in one shape.

For the most part, that's no longer true. It depends on the theatre of course, but around these parts, the vast majority of screens are fixed at 1.85 and scope films are projected with black bars at the top and bottom - they no longer have curtains or even masking.

It Comes at Night has moments at 2.76 and some at 3:1.

I think the main reason 1.78:1 was chosen as the de facto HD ratio is that it was the mid way point between 1.33 and 2.35 - so black bars wouldn't be too obtrusive regardless of the content being displayed.

For what it’s worth, I don’t really care much either way, and I always watch film and television shows in the manner they were created (if possible), but a couple of points. There seems to be a belief that the selection of aspect ratios is and always has been a creative choice, but that simply...

Maybe it's just me, but I don't really see the point of shooting television in 'scope. The whole purpose of the format was to provide a bigger, more immersive experience, and you get just the opposite on television - unless you're in the 0.01% who have a constant height front projector set up...