In key of E major going from B7sus2/4-->Bb7b5-->Amaj7 works.

In key of C#minor going from G#min7-->G7b5-->F#min7 works.

Both have root descending by half steps and then altered dominant seventh chord moving to what are plausible tonic chords or tonicized chords.

The Bb7b5 and G7b5 sound like tritone substitutions.

It's hard to say much more. Nothing really indicates the keys you've given, but assuming something else establishes those keys, you could say Amaj7 and F#min7 and temporarily tonicized and these are tritone substitution progressions.

In key of E major going from B7sus2/4-->Bb7b5-->Amaj7 works.

In key of C#minor going from G#min7-->G7b5-->F#min7 works.

Both have root descending by half steps and then altered dominant seventh chord moving to what are plausible tonic chords or tonicized chords.

The Bb7b5 and G7b5 sound like tritone substitutions.

It's hard to say much more. Nothing really indicates the keys you've given, but assuming something else establishes those keys, you could say Amaj7 and F#min7 and temporarily tonicized and these are tritone substitution progressions.

The generic pattern is ii bII I or a bit more specifically iim7 bIIalt7 I in major or iim7b5 bII7 i in minor. There is a fair amount of flexibility with the exact chord qualities. The ii will get a minor third and minor seventh, the bII will get a major third and minor seventh. Both chord's fifths are then the flexible degree that hints at major/minor mode. The i/I chord can take various extensions or additions. So it's roots on descending half steps to the tonic with the penultimate chord being some kind of dominant seventh chord.