States". By 1983, Kennedy Martin had written the first draft of what became Edge of Darkness – at this stage it was called Magnox (a reference to the Magnox type of nuclear reactor) and was about trade union problems in the nuclear industry. The script was given to BBC head of drama series and serials, Jonathan Powell, who encouraged Kennedy Martin to continue its development. The script went through many changes and revisions. A particular influence was the speech made by President Ronald Reagan on 23 March 1983 announcing the Strategic Defense Initiative (SDI) which proposed protecting the United States from attack by nuclear missiles. One of the supporters of SDI was Lyndon LaRouche, on whom Kennedy Martin based the character of Jerry Grogan, owner of the Fusion Corporation of Kansas. Kennedy Martin was also influenced by the secrecy surrounding the UK's policy on nuclear power in light of the inquiry into the construction of the Sizewell B nuclear power station and the concerns about the safety record of the Sellafield nuclear reprocessing plant; this led him to conceive International Irradiated Fuels and its chief executive Robert Bennett. The other major influence was the Gaia hypothesis, that the Earth is a single living system that self-regulates to maintain the optimum conditions for life, formulated by climate scientist James Lovelock and popularised in his 1979 book Gaia: A new look at life on Earth. Kennedy Martin used the name Gaia for the environmental organisation Emma Craven was involved in and drew the notion for the black flowers seen at the serial's conclusion from a passage in Lovelock's book that describes a dark marsh grass that grew on the surface of the Earth trapping heat during a time when the planet was too cold to sustain life, simulated in Lovelock's Daisyworld model. Although Kennedy Martin's notion for the serial was influenced by real political events, he had for a long time railed against naturalism in television drama – most notably in a 1964 article for the theatre magazine Encore, titled "Nats Go Home. First Statement of a New Drama for Television", in which he sought "to free the camera from photographing dialogue, to free the structure from natural time and to exploit the total and absolute objectivity of the television camera". Edge of Darkness producer Michael Wearing has noted that "there is a mystical dimension to Troy's imagination. His instincts are visual