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This article contains Twin Peaks spoilers

If you’re like me and caught up with Twin Peaks well after its original run on ABC in 1990-1991, you probably got the same advice I heard. “Season one is great and season two sucks. But you need to stick through the second season to get to the finale which is the best episode of the entire show.” Leaving aside the fact that they probably mean “everything after the Laura Palmer murder is solved” sucks, since we got some great episodes in the second season, that advice offers a pretty limited understanding of what the original series had to offer.

Yes, Twin Peaks is most famous for its surreal imagery. Agent Cooper’s visit to the Red Room, Bob crawling over the sofa toward the camera, the Giant’s despairing observation that “It is happening again.” All of these are indelible parts of the series.

Welcome back to Let’s Scare Bryan to Death, where I’m thrilled to be talking to one of the great voices working in horror journalism today, Terry Mesnard. Be it through his website Gayly Dreadful or through Scarred for Life, the podcast he co-hosts with Marybeth McAndrews, Mesnard’s analysis is always intelligent, deliberate, and playful.

Not surprisingly, before nominating a film to discuss, Mesnard did a little research to look at the movies I’ve covered in past installments. Given that so far I’ve covered films ranging from Brian De Palma staples to classic J-horror to queer giallo flicks, Mesnard had just one thought: “Bryan really needs to class up his column.” Enter the 1991 James Cummins horror comedy The Boneyard, a film that I had not even heard of before Mesnard suggested it. But when I saw the cover, featuring what appeared to be some sort of mutant poodle,...