abandoned. The electricians dispute was settled by December, but it had badly affected the series recording schedule. The crew were able to shoot the following serial The King's Demons on schedule, meaning that there was only one recording block left for the part-completed Enlightenment and Eric Saward's season finale; The Return. With some filming already completed, and its importance in concluding the Black Guardian story-arc, it was decided that Enlightenment should take precedence and so it had its second production block moved to January 1983, while The Return was abandoned. Due to the delays, the serial only finished filming around a month before its transmission date, meaning that composer Malcolm Clarke only received the first episode for scoring a week before broadcast, having to rely on musical cues he had recorded weeks earlier without having seen any footage. Themes and interpretation Writer Barbara Clegg based the Eternals on a wealthy group of her relatives who, upon visiting her, had demanded constant entertainment, treating other family members almost as "lesser beings". Clegg drew inspiration from the Bible's Book of Genesis, deriving the prize of enlightenment from The Tree of Knowledge within it; also, having read about Solar winds, she decided to use them as the basis of propulsion for space vessels. Clegg highlighted the nature of enlightenment, showing it not to be knowledge, as the Eternals believe, but wisdom, as demonstrated by Turlough's rejection of the Black Guardian. The episode makes use of a regular science-fiction trope: bored, god-like beings playing with mortals' lives for amusement. In their book About Time, Lawrence Miles and Tat Wood liken this to a prevalent strand of children's fiction, where magical worlds are held together by the rules of the children who visit them. Miles and Wood also highlight the political elements of the story, likening the portrayal of the Eternals to the view of the upper classes as "effete parasites feeding off the labour (and in this case the imagination) of the proles." The Doctor then acts as part of the class struggle, helping the workers gain freedom while the gentry get their comeuppance. In his essay Love is a Stranger, published in the first volume of the Doctor Who Magazine — Special Edition, David Bailey highlights the central idea that "...the lives of little people are precious, special and worth fighting for... ...the Eternals may have unimaginable power at their fingertips but they