Ever since the legend of Romulus and Remus being suckled by a she-wolf came into being, twins have occupied a special position in legends and stories about the werewolf. Twins even feature in the play that makes one of the earliest mentions of the term “lycanthropy” in Western culture: John Webster’s revenge tragedy The Duchess of Malfi. In the twenty-first century, lycanthropic twins are more prevalent than ever. Twins play key roles in popular series such as Jennifer Lynn Barnes’s Raised by Wolves trilogy and Glen Duncan’s The Last Werewolf trilogy. And lycanthropic twins make appearances in popular culture ranging from the TV series Teen Wolf (2011–2017) to paranormal fantasy series such as Kelley Armstrong’s Women of the Otherworld. Despite their popularity, it is unclear why twins appear so frequently in texts featuring lycanthropy. It may simply be fiction reflecting real life: wolves often produce large litters of pups in the wild. But with werewolves establishing themselves firmly in horror, fantasy and Gothic texts, surely there is more to it? The Doppelgänger is a staple of the Gothic, with uncanny twins and doubles appearing in numerous works of fiction and film. And the werewolf, out of all monsters in the Gothic and horror genres, embodies best the dichotomy of man/beast, civilisation/nature, good/evil, all of which can be doubly reflected in the presence of twins. Yet even in werewolf fiction produced since the 1980s, in which authors have begun to move away from the “beast within” depiction of the werewolf and explore new modes of lycanthropic subjectivity, the frequent depiction of werewolf twins persists. So how are we to explain the close, continuing links between twins and lycanthropy in popular culture? As an after-effect of the incredibly influential doppelgänger, beast within imagining of the werewolf, or are there other reasons for two being better than one?