Why Netflix’s ‘Crime Scene’ Docuseries Dangerously Fails Its Subject Matter

A shameful retelling of the tragedy of Elisa Lam

Crime Scene: The Vanishing at the Cecil Hotel (2021). Photograph: Cnet

Following the success of true-crime documentary series such as Making a Murderer (2015–2018) and Conversations with a Killer: The Ted Bundy Tapes (2019), I was keen to explore one of Netflix’s latest additions to this genre titled Crime Scene: The Vanishing at the Cecil Hotel (2021).

It’s fair to say, I was disappointed.


The series revisits the disturbing disappearance of Canadian student, Elisa Lam, whose body was recovered by authorities from a water tank atop the infamous Cecil Hotel in Downtown LA, where she vanished nineteen days prior on 1 February 2013.

Elisa Lam. Photograph: Biography

The LA Coroner’s Office ruled Lam’s cause of death as an accidental drowning, triggered by a psychotic episode due to Lam under medicating for severe depression and bipolar disorder.

Main Issues

The coroner’s report should have been enough to close the case. Even so, conspiracy theories continued doing the rounds online covering the mysterious circumstances of her case.

This growing fascination was only encouraged by the incompetence of LAPD investigators, the significant four-month delay of the autopsy report, and the release of an unsettling CCTV video to aid police inquires while Elisa was still presumed missing.

Elisa Lam’s last known appearance. Photograph: Business Insider

If the video seems familiar, that’s because it went viral due to the troubling and paranoid behaviour exhibited by Elisa during her last known appearance.

The footage prompted a tide of baseless accusations and theories asserted by ‘internet detectives’, all adamant that owning a YouTube channel is equal to obtaining a P.I. License, illustrated by their intrusive probing into Lam’s case.

One detective even tasks an associate with laying flowers at Lam’s grave. The most uncomfortable and alarming moment within a series boasting plenty of both.

Was Elisa hiding from a pursuer? Was she drugged? Or was she possessed?

Unfortunately, these questions form Netflix’s primary interest in this story, contributing even more speculation from keyboard warriors which anyone could get from a quick scroll through YouTube or Reddit if they wanted to.

The series devotes just its final episode to Elisa and her struggles with mental illness while the rest is dedicated to providing internet sleuths with a forum to discuss their own theories about what happened to Elisa, in a way that feels insensitive and disrespectful to the memory of a troubled young woman and her surviving loved ones.

While Crime Scene includes testimonies by homicide detectives and forensic experts, this begs the question of why didn’t the creators consider these testimonies enough to lead with?

One memorable account is by the former manager of the Cecil Hotel, Amy Price. Her laissez-faire policy towards the various offences committed within the hotel during her tenure as its manager indicates how appalling this environment must have been to desensitize and resonate with her for so long.

Redeeming Features

The only reason I award the series with two stars is for the historical context it provides about the Cecil Hotel and its surrounding neighbourhood known as Skid Row, preventing it from resembling complete exploitative nonsense.

Skid Row gained notoriety as a hotbed for poverty and homelessness since the 1930s, in turn leading to a rise in cases of violent crime, drug abuse, and mental illness which soon set the standard of the Cecil Hotel’s guests. A sharp contrast with the polished Hollywood image that most people assume.

Skid Row, Downtown LA. Photograph: NewFinale

This background helps establish the setting of this story, enabling viewers to greater empathise with Elisa who contended with her deteriorating mental health within a very isolating and hostile environment.


Crime Scene misleads viewers by being less concerned with examining credible testimonies and concrete evidence, or even approaching the Elisa Lam case from an original angle, instead choosing to resign to the morbid fascination surrounding such cases prevalent within the media and online.

While fans of docudramas expect a certain degree of sensationalism to keep the genre feeling fresh and entertaining, this is only palatable so long as each show stays true to its subject matter, which here, it does not.

Working with more limited material compared to similar series, here a condensed two-part docudrama would have been more effective.

Crime Scene further reinforces how modern society continues to misconceive and mythologise mental illness at the expense of neglecting the real tragedy behind every individual struggle. In this case, Elisa was a very vulnerable person who should never have been 900 hundred miles away from home.

Above all, Netflix confirms why major broadcasters and streaming services should accept greater responsibility for what content they commission, as these results challenge the integrity of this format on the platform moving forwards.

As a reminder of how capable Netflix is when it comes to producing high-quality factual entertainment, watch either of the two programmes outlined at the start of this article or see the chilling mini-series, Evil Genius: The True Story of America’s Most Diabolical Bank Heist (2018) to realise what outstanding television Crime Scene could have been.

For free 24/7 mental health support and guidance (UK), please visit:

In a life-threatening emergency, always dial 999 first

Samaritans, call 116 123 or email jo@samaritans.org

Assistline, call 0800 689 5652 or email info@cspbristol.co.uk

Bipolar UK, call 0333 323 3880 or email info@bipolaruk.org (open 9am-5pm, Monday-Friday)

Writing about Film, History, Culture & Society | British-Czech | UK Based | Writer | Filmmaker | Film Teacher | BA Film and History, University of Southampton.