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Director David Lynch, whosedeath at age 78was announced Thursday, will rightly be remembered as the surrealist master behind feature films like “Mulholland Drive” and “Eraserhead.” But he also transformed television as we know it.

It’s not a stretch to say that without “Twin Peaks,” there would be no “Buffy the Vampire Slayer,” no “Riverdale,” and, arguably, no “Gilmore Girls.” Setting the blueprint for edgy TV drama, Lynch’s trailblazing police procedural, which first aired on April 8, 1990, brought gothic Americana into the mainstream.

Equal parts “Twilight Zone” and “Dynasty,” “Twin Peaks” was a departure from the conventional plot lines of popular prime-time dramas like “L.A. Law” and “MacGyver.” Its legacy transcends its short run (two seasons, until a third was released in 2017) and cult status, creeping onto the covers of Time and Rolling Stone, and into water cooler conversations around the world.

But it wasn’t only the unsolved mystery of who killed homecoming queen Laura Palmer that kept viewers coming back to the haunting — and haunted — West Coast town, teeming with backstabbing, sexual escapades and a fabled “darkness” lurking in the nearby woods. Shot on film, the show had a cinematic feel that was unusual for TV at the time, with Lynch’s signature psychosexual surrealism (seen in earlier indie releases like “Blue Velvet” and “Eraserhead”) ratcheting up the tension of each visually and emotionally saturated scene.

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It comes as no surprise, then, when we later see Audrey trading her flats for red kitten heels stashed in her school locker, or cooly smoking in the girls’ bathroom, with her A-frame eyebrows and figure-hugging sweater, setting the type of scene that pushed lobbyists to pressure Hollywood to stop letting actors smoke on screen — because it just looked too good. Or, in a moment that made TV history, Audrey, poured into a svelte little black dress, twists a cherry stem into a knot with her tongue.

Veronica on “Riverdale” is an obvious heir to Audrey’s teen vamp persona, but so, too, is ’90s Courtney Love, with her broken-down pin-up look; the independent and spirited Rory and Lorelai of “Gilmore Girls,” with some jeans and MAC lipstick thrown in; and “Glee“‘s gutsy and seductive cheerleader Santana.

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But Lynch’s nostalgia didn’t end with the 1950s. Norma, owner of the Double R diner (played by Peggy Lipton of “Bewitched” and “The Mod Squad” fame) updates the working-class diner look on “Alice,” which ran from 1974 until 1985, bringing the elegance of a ballgown to her blue-and-white uniform, replete with integrated apron and leg-of-mutton sleeves.

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