... I think I might have been tempted to frame out the blue corner top right... I imagine this would also look very good in high contrast B/W.
I actually have a frame without it, as I was initially thinking the same as you. But then I remembered one thing I picked from classical painting composition rules, i.e., that a picture should also have an exit, not just entrance. In other words, not just an entry point, at which the eye will enter the picture and start exploring it toward the main point of interest, but also an exit point, to leave, after satisfactory exploring it. Without it, the viewer might feel constrained and trapped. A little patch of blue sky is often used in classical paining for that purpose.
On a less serious note, perhaps you are right after all. Perhaps it fits the narrative suggested by the title better if the viewer would indeed feel trapped, constrained, claustrophobic, anxious, with no exit, no way to go, and nowhere to hide from the omni present and omnipotent prying eyes
As for b&w, yes, it could work well that way too. I just found the presence of the gentle, innocent, baby-blue cast too relevant for the narrative to resist. I mean, a proper surveillance
should present itself as such, innocent and benevolent, in order to be accepted, right?
Back to serious, I do have another version with much more color, almost graphical in nature, but I felt it robs the image of its original meaning:
