The Comfort of Sameness: Why Formula TV Still Hooks Us

There’s something strangely comforting about knowing exactly what’s going to happen before it happens. Formula TV thrives on that feeling. Whether it’s CSI: Miami with its dramatic sunglasses moment or Law & Order hitting the same “crime → investigation → courtroom” rhythm every time. These shows follow patterns we can practically recite. Watching the CSI montage, where every clip looked like a remix of the last, I could practically hear Adorno and Horkheimer whispering, “See? This is the culture industry at work.” And honestly, they have a point. So many of our favorite shows rely on the same predictable beats:

• Criminal Minds with its “profile → chase → last‑minute rescue” formula
• Grey’s Anatomy with its “medical crisis → emotional crisis → monologue” cycle
• Even House Hunters with its “three homes, one decision” setup

A short parody of “Criminal Minds” shows the same predictable structure, profile, chase, last‑minute rescue, playing out almost identically across episodes.

And here’s the funny part: I didn’t realize how much I rely on this predictability until I caught myself rewatching the same “Criminal Minds” episodes while grading papers. Not because I needed to see what happened, I already knew the plot twist, the chase, the last‑minute rescue. But there was something about the familiarity that made the room feel less chaotic. It was like the show was doing emotional background work for me, filling the silence without demanding anything in return. I didn’t have to invest, or focus, or prepare myself for anything unexpected. It made me realize that sometimes I’m not choosing a show for entertainment at all, I’m choosing it for stability. For a moment where nothing surprises me, nothing shifts, and nothing asks me to adjust. That’s when it hit me: predictability isn’t just a TV preference. It’s a coping mechanism.

A recent article called "The Rise of Cozy Shows and Movies: Why We’re All Craving Comfort TV", makes the same point. The article makes a point that really stuck with me: people aren’t choosing cozy or predictable shows because they’re checked out, they’re choosing them because life feels overwhelming. After constant news updates, political tension, and everyday stress, audiences want stories that feel safe, gentle, and emotionally steady. Reading it made me laugh at myself a little. I’ll open Netflix, determined to try something new, scroll for five minutes, and somehow end up right back on the same three shows I’ve already watched to death. It’s like my brain says, “Girl, we’re tired. Put on something we know.” And honestly? I listen every time. 

https://www.thebullhornnews.com/article/2025/11/rq64gpt7ys6f

The Rise of Cozy Shows and Movies: Why We’re All Craving Comfort TV

This is where the theory gets interesting. Adorno and Horkheimer argue that formula TV keeps us passive, turning repetition into a tool of control. The CSI montage practically proves their point: same angles, same music cues, same dramatic pauses. But Cultural Studies pushes back. Williams reminds us that “culture is ordinary,” meaning even repetitive shows matter because people use them in personal ways. Hall sees popular culture as a site of struggle, not surrender. And Fiske argues that audiences aren’t passive; we choose, interpret, and repurpose media based on our own needs. Through that lens, formula TV looks different. It becomes clear why people return to these shows again and again: they offer a world where problems get solved, justice is predictable, and chaos is contained in 42 minutes, something real life rarely gives us. So maybe the Frankfurt School is right about the structure, but Cultural Studies is right about the audience. We’re not mindlessly consuming sameness. We’re using familiar stories to create stability, meaning, and comfort in a world that rarely feels predictable.

Here’s what I’m still chewing on:

1. If formula TV gives us emotional stability, does that make it a tool of control or a tool of survival in a chaotic world?

2. When we choose predictable shows over new ones, is that passivity or is pop culture becoming more personalized and emotionally strategic?