I’ve always been impressed at how soaps manage to pull off epic stunt sequences on a tight budget – show-stoppers such as Emmerdale’s motorway pile-up and Coronation Street’s tram crash wouldn’t look out of place in a Hollywood film.

EastEnders went for something different this week with a nightclub crowd crush and, on paper, it’s a risky one that would have been difficult to get right. However, what they pulled off made incredibly tense and believable television, leaving me squirming with the right level of unease – being crushed in a crowd is something that utterly terrifies me.

A few years ago at a New Year street event, I was caught in a claustrophic mob, separated from family and friends and barely able to breathe. The area was fenced in far too tightly and tickets had clearly been oversold in comparison to the available space.

Watching EastEnders’ nightclub be packed tighter and tighter with bustling and jostling people re-ignited a bit of that panicky feeling I had – and one thing that EastEnders did that made it so successful sets it apart from a complaint I have had about other soaps recently.

It hasn’t escaped the notice of most that sets and communities in some of the shows feel distinctly quieter these days.

The Rovers in Coronation Street feels dead compared to its former thriving days where it was teeming with supporting artists and various characters just enjoying their casual chats, not just populated by those needed for the plot.

And over in Hollyoaks, an enduring criticism has been the lack of interactions between character groups, with everyone caught in their own bubbles and even family relationships and friendships forgotten for long periods of time.

Over the past couple of years, EastEnders has been getting a lot right, but what I have enjoyed the most is the emphasis on community.

Nods to the past and strong continuity have been a breath of fresh air, with many scenes feeling more character driven.

The Vic is generally full of different characters and we are treated to plenty of interactions between those who don’t always cross paths. The Square itself, particularly the market, still seems as lively as ever.

It’s this element of cast utilisation that was essential to make a plotline like a club crush work.

Perhaps suspending disbelief somewhat that a nightclub would attract so many on a Monday – maybe, I’m just old – the atmosphere was forebodingly chaotic.

Knowing what it was building up to made it all the more intense, so when it did all fly out of control, the jeopardy was truly real.

The combination of characters involved was varied perfectly, with the young teens finding themselves injured while older characters like Kim – played brilliantly by Tameka Empson in these scenes – got some much-needed focus, revisiting her battles with PTSD.

Zack, Penny and Lauren’s growing horror and urgency over what was happening was palpable and, while a very topical story, it was blended well with the more soapy element, which was cheating Cindy and Junior caught in the office, momentarily torn over whether to let the struggling crowds in.

There was a lot at stake and the engineering of the stunts themselves was brilliantly choreographed and directed.

A mass of bodies, with so many cast, supporting artists and stuntpersons to rely on both in performance and technical elements, is no easy feat to pull off in a soap which demands four weekly episodes on a very fast turnaround.

The fact that an event episode of high intensity landed in August – what summer slump? – was a testament to how EastEnders is upping t