Your progressions re-written with capitol letters and Roman numeral analysis after...
G Em C Cm --- G:I vi IV iv
B F# G♯m E --- B:I V vi IV
G D C Cm --- G:I V IV iv
D G Em7 A7 --- D:I IV ii7 V7
I assume all of these get repeated.
There are some similarities between them.
The only one that jumps out as having a sort of name is
B F♯ G♯m E, that's the
I V vi IV "Axis of Awesome" used in a thousand pop hit songs.
When if comes to finding similarities in chord progressions, it's worth pointing out that most chord progressions share similarities, because music works with common patterns. Chord progressions (harmony) is not reinvented with each new song. Similarities should not comes as a surprise.
- when the progressions repeat you have
IV iv | I in two of them. It doesn't have a name, but it's a popular thing to do, and it's chromatic, so it stands out. You can call the second chord, the
iv, a "borrowed" chord, it's a subdominant, normally a major chord in a major key, but in this case "borrowed" from the parallel minor key
G minor, but you can also think of it as just descending chromatic steps with the
E natural to
E flat to
- several of the two chord progressions involve major/minor relative pairs, either the lower or upper relative:
G Em7. There is nothing unusual about those progressions, but pop music sort of emphasizes them more than classical style. Pop might vamp back and forth between
iii, but classical style wouldn't do that. This may be too common to think of as a unique feature shared by these progressions. It's more like any pop progression might do this.
- the last one -
D G Em7 A7 --- D:I IV ii7 V7 - has something going on when in a particular voicing, like this on guitar
D xx0232 G 320033 Em7 022030 A7 x02020. On the
B string you have the half step movement from fret
2, that's a
D down to
D gets emphasis as either the chord seventh, or possibly viewed as a suspension. It's not exactly analogous to the half steps in
IV iv I, but there is a similarity in that, in each progression, one of the half steps is "special." In one case it's a chromatic half step, in the other it is a dissonant half step. Maybe you hear some similarity between those?
Other than the minor
iv shared by two, I personally wouldn't lump these all together as sounding alike and somehow unique from other pop progressions. They sound similar is the very broad sense that they are all common pop progressions. I just laid out what you might be hearing as similarities.
Just a side note, you see the minor
iv getting clever names like the "Beatle chord" or something else. It was used long before The Beatles or any other cute name. It can be involved in something called the "backdoor" progression, but that particular progression also is defined by the
♭VII chord. Unless you're really playing a backdoor progression, don't call it that.
You might like this: https://www.angelfire.com/fl4/moneychords/lesson.html