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Notes -
I've seen a few successful approaches:
Keep the time pressure high, and leave few clear authorities to call. See Knives Out, where police are brought in early and can't solve the crime (and aren't even sure there is a crime). For a lighter-hearted take, see Zootopia, where the convention is so transparent most people don't notice it, even to the point where they added the carrot recorder joke. Or see BNA : Brand New Animal, where anyone beastman the protagonists could call has been transformed into ravening beasts. It's not uncommon for these stories to have the interconnectivity be a major part of the solution -- the climax is the reveal and disclosure of the villain (and in BNA, that there are connected beliefs that still hold people together, transmitted from cell phone recording to mass media), rather than a physical tussle.
Make your story about that technology. Ghost In The Shell presumes its main characters will be constantly tied to the internet at every moment -- the one guy without a cyberbrain is the runt of the team -- and it's a whole thing if any ever have to go dark. Paranoia Agent takes this in more supernatural ends, and it does work best if it's weakly-speculative, but the same principles can apply for traditional thrillers.
Decrease your scope and scale. You can write thrillers that aren't about murderers: there's a wide variety of financial or social crime where calling the police will range from getting nothing to getting written up yourself. It's harder to write these lower stakes as interesting to readers, but it can still be very interesting once you've grabbed them.
Drastically reduce the time pressure. If you're trying to solve a homicide from the 1920s in 2020, it doesn't matter what tech you can bring to hand. Arguably, this is a major focus for a lot of older true crime.
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