Photographs from a premiere or awards ceremony are strikingly consistent across every outlet that publishes them. The sameness is an engineering outcome, not a stylistic choice.
The photographers do not choose where to stand
Accredited photographers are assigned fixed positions along a barrier, allocated in advance by the event's press operation. Positions are held for the duration.
Everyone therefore shoots the same subject from within a narrow arc, at similar distances, with similar focal lengths. The equipment is close to standardised at this level, which narrows the difference further.
Variation in a photograph normally comes from the photographer's freedom to move. Removing that freedom removes most of the variation.
Lighting is installed, not found
Carpet lighting is rigged to be even and flat, so that a face is legible from every position at once. It is designed for consistency rather than for character.
Flash from the line adds another uniform layer. Hundreds of units firing across the same subject produce a similar result whatever camera is behind them.
The photographs are technically clean and visually identical, which is what the setup was built to deliver.
The backdrop is a commercial instrument
The repeated logo wall exists so that sponsors appear in every published frame. Its dimensions and repeat spacing are set so that at least one logo survives any reasonable crop.
That constrains composition directly. A photographer cannot frame wide enough to include the room without including the wall.
The subject is therefore always centred against the same surface, in every image, from every outlet.
Subjects are coached into the same positions
Performers are directed along the carpet by publicists and stopped at marks. There are practised poses that photograph reliably and are taught as such.
Anyone appearing regularly learns which angles work and repeats them, because an unflattering frame from a bad angle circulates for years.
Risk aversion on both sides of the barrier converges on the same small set of stances. The photographer wants a frame that will sell and the subject wants a frame that will not follow them, and those two goals point in the same direction.
Distribution finishes the job
Most outlets do not send their own photographer. They license from agencies covering the event, so the same handful of frames appear everywhere with different captions.
Agency selection favours the clearest, most conventional images, since those are the ones editors will buy. An unusual frame may be the better photograph and it will still be passed over, because an editor is matching a caption rather than curating.
By the time a photograph reaches a reader it has passed through three filters that each reward consistency, and nothing in the chain rewards a photograph that looks unusual.