Time Complexity Bias
Time Complexity Bias (TCB) is an occurrence where the composer overengineers the "complex" time signature(s) of a piece, when it just ends up being equivalent to a much simpler time signature. In plain english, you could explain it as "the song is supposed to be complex, but it actually isn't". It is the opposite of extreme musical reductionism and people who find themselves in such situations could be considered Cluds (Complexity Larping Chuds).
“Life is really simple, but we insist on making it complicated. Also fizz is pretty cool btw” - Confucius might've said some of this
Examples
The song System by Brotherly sounds pretty complex at first, but eventually you realize it's simply 6/8. Because Brotherly knew very well what they were doing with all the syncopation, this is actually a case of TCB on the side of the listener as we are the ones hallucinating the absent complexity.
There is a video of a guitar player describing how proud he was of his 7 + 5 riff, until his teacher or someone told him it's just in 6/8. I would've included a link if i could find it.
Similar Phenomenons
MCB
Musical Complexity Bias is what all Cluds have and what makes them all Cluds. Time Complexity Bias is a branch of MCB.
One technically wouldn't be wrong to say that every time signature can be simplified to 1/2048 time, in the worst case, with a few tuplets or demisemihemidemisemihemidemisemihemidemi(...)quavers. This is actually a different phenomenon (mentioned earlier) called extreme musical reductionism. You could also associate it with the Occam's Razor fallacy.
What doesn't have as much to do together with the Time Complexity Bias is the everything is in 4/4 if you count long enough theory, even though these two can easily be confused. TCB is about the sum of the values of measures, converting it to 1 measure with a single time signature and simplifying it by dividing the numerator and denominator by the same number. The Everything is in 4/4 theory however just goes on to ignore the intended measure length and just counts everything in the simplest way to count (yet the stupidest way to interpret the actual intentions of the musician). This theory technically falls under extreme musical reductionism.