Mission & Vision
Two's Company Media develops and produces Irish stories that are bold, original, and built for global audiences - bringing the full range of Irish culture, history, humour, and mythology to screen with the ambition, craft, and commercial instincts they deserve.
We envision a world where Irish storytelling is as familiar to international audiences as Scandinavian noir or British prestige drama.
Values
Originality over formula
Every project begins with a question: what is the most compelling way to tell this particular Irish story to the widest possible audience?
Commercial craft
Great storytelling and commercial viability are not in tension. We build projects that are artistically ambitious and financially structured to succeed.
Irish to the bone, global in reach
Our stories are rooted in place, culture, and voice - but their themes are universal. Specificity is what makes stories travel.
Range
From romcom to mythic epic, we develop across the full spectrum of screen storytelling.
The Slate
A portfolio spanning immediate green-light candidates to a franchise-scale mythological universe - from a chipper in the Docks to the gods of ancient Ireland.
Tier I · Series · Immediate
"Bridesmaids meets Derry Girls meets Sex and the City - but Irish as f*ck."
Four women meet in their first week at Trinity College Dublin and forge a bond that will define their twenties. A drunken Freshers' Week pact - to each marry in Trinity Chapel within eight years - gives their intertwined love lives a deadline, a comic engine, and a ticking clock. Raucous, heartfelt, and deeply Irish.
"The greatest love stories are often our friendships." - Fade to Black. The Boys Are Back in Town blares.
Tier I · Series · Immediate
"Where Ireland's tech dreams go to die… with style, sarcasm, and curry chips."
Their dashboard is blinking red. Their seed funding is a pub quiz. Their crypto play is wiring airfryers to mine Bitcoin. Series A funding? Riiight...
"We didn't change the world. But we made it laugh." - Aoife "Idiots. But my idiots." - Evelyn.
Tier II · Series · Prestige · Section 481
"Pirates of the Caribbean meets Braveheart."
Ireland, 1594. O'Neill, Red Hugh, and Grace O'Malley defy Elizabeth I across Ulster's bogs, Spain's courts, the wild Atlantic and Morocco's palaces. The story of Ireland's last great rebellion - a civilisation built on honour and spoken law, endangered by an empire of oppression. Punk-trad soundtrack. A fire that never dies.
"They fought as warriors of old, carriers of the flame. The land fell silent, yet the song endures." - Bard-Narrator.
Tier II · Series · YA · Section 481
"Where the old tongue opens old doors."
Seven teenagers on a Gaeltacht summer camp discover that Irish isn't a dead language - it's a living key. A phrase spoken in the old tongue unlocks a portal in a moss-covered standing stone, and the friends tumble into Tír na nÓg: a magical world of eternal youth, Tuatha Dé Danann politics, and a war that predates history. To get home, they must navigate the cultures and speak the language perfectly. Every mistake has consequences.
"We thought we were learning a language. We were learning a world."
Tier III · Franchise · The ICU
"Before King Arthur. Before The Avengers.
There were the gods of Ireland."
Three interconnected prestige series from Ireland's foundational myth cycles - the storytelling of the MCU, the dynastic scope of Game of Thrones, rooted in the cultural saga that inspired Tolkien himself.
Age of Gods · Age of Heroes · Age of Twilight
Show One
Myth Cycle · Age of Gods · 5 Seasons
Gods and giants battle for Ireland. The Tuatha Dé Danann rise to glory, defeat the monstrous Fomorians, and retreat into the Otherworld when mortal Milesians arrive. The gods do not die - they become the sídhe, whispering in Ireland's rivers and hills.
Cosmic Spectacle · Myth-Punk Fantasy · Prophetic Tragedy
Show Two
Ulster Cycle · Age of Heroes · 3 Seasons
Cú Chulainn - Ireland's Achilles - stands alone at the ford as Queen Medb's ambition plunges Ulster into war. He dies tied to a standing stone, defiant to the last. The Morrígan's crow lands on his shoulder. Only then do his enemies approach.
Shakespearean Tragedy · Visceral Warfare · Dynastic Betrayal
Show Three
Fenian Cycle · Age of Twilight · 3 Seasons
Finn MacCumhaill leads a band of warrior-poets. Oisín journeys to Tír na nÓg and returns to a Christian world. Brigid - goddess and saint - carries the old flame into the new faith. The gods do not vanish. They transform.
Lyrical Adventure · Romantic Elegy · The End of an Era
"We are not gone. We are here still, in the wind, in the water, in the story. Honour us."
— The MorríganMarket momentum
294 productions in Dublin alone in 2025. The industry barely breaks for Christmas. Studio space is at near-capacity during peak periods. Ireland has become the default choice for international productions seeking a stable, skilled, English-speaking base in Europe.
World-class crew
On a production of the scale of Wednesday (Netflix), all but one head of department was Irish. A decade ago it would have been half. Element Pictures - founded in Dublin in 2001 - has secured 30 Academy Award nominations and six wins. The talent pipeline is generational.
Political stability
Wednesday left Romania when a change of government withdrew the tax credit overnight. Ireland's Section 481 incentive has been consistent for decades and is actively managed by government to remain competitive. Stability is not a small thing - it is the foundation of long-term production relationships.
Global ambition
Screen Ireland operates a permanent office in Los Angeles, actively brokering relationships with studios, streamers, and global co-production partners. The Oscars, TIFF, Cannes, and Sundance are all platforms the Irish industry now occupies at the top table. The moment is now.
Funding Partners · Ireland · Northern Ireland · Europe
Every project on our slate has been developed with the full Irish and Northern Irish funding ecosystem in mind. We are not retrofitting projects to fit funding criteria - we are building projects from the ground up that are structurally aligned with Screen Ireland, Northern Ireland Screen, and European co-production frameworks.
Screen Ireland has a permanent office in Los Angeles. Northern Ireland Screen has consistently backed prestige drama with cross-border and international ambition. Together with Section 481 and European co-production treaties, the Irish island offers one of the most complete and competitive production funding stacks in the world.
Screen Ireland
Ireland's national screen agency - development, production, and global promotion.
Development Funding
Script development, treatments, and market attendance for Irish-led projects across all our Tier I and Tier II projects.
Production Investment
Equity investment in qualifying Irish productions. Priority projects: Black Feather (prestige historical), Old Town (Phil Lynott feature), The Craic Pack (audience development strand).
LA Office
Screen Ireland's permanent Los Angeles office actively brokers relationships with US studios, streamers, and co-production partners on behalf of Irish companies.
Animation & ICU
Screen Ireland has a strong track record in high-concept animation and mythology. The Irish Cinematic Universe aligns directly with their international franchise ambitions.
Northern Ireland Screen
A separate and stackable funding body - with a powerful track record in prestige drama.
Black Feather Priority
The Nine Years War, O'Neill, Red Hugh, and the Flight of the Earls are Northern Irish history. NI Screen has a specific mandate for Ulster/Irish cultural storytelling - Black Feather is a direct fit.
Stackable Credits
Projects qualifying for both Screen Ireland and Northern Ireland Screen can stack credits - a structural financing advantage that materially improves the production budget.
Prestige Drama Track Record
NI Screen backed Game of Thrones, The Fall, Derry Girls, and Line of Duty. The appetite for ambitious, international-facing drama is established and proven.
UK HETV Credit
Northern Ireland is part of the UK. Productions qualifying for NI Screen also access the UK's High-End TV tax credit - currently 34% on eligible UK spend above £1m per episode.
European & Co-Production
Ireland sits inside the European co-production framework - unlocking a continent of partners.
Eurimages
Ireland is a member of the Council of Europe's Eurimages fund - providing co-production finance for feature films and TV drama in partnership with other European producers.
Ireland / UK Treaty
The Ireland–UK co-production treaty enables full access to both countries' incentives simultaneously, making island-of-Ireland productions structurally competitive against any European rival.
Creative Europe / MEDIA
EU development, distribution, and co-production funding accessible to Irish producers - particularly relevant for the ICU franchise, which has pan-European mythological resonance.
US Streamer Co-Productions
Netflix, Apple TV+, Amazon, and Disney+ all have active Irish production relationships. The Section 481 credit stacks with streamer licence fees to close the financing gap on all seven projects.
How our slate maps to the funding landscape
Gold border = maximum funding stack eligibility
Ireland · Section 481 · Co-Production
Every project is developed with the full Irish production incentive framework in mind. Section 481 - Ireland's film and television tax credit - sits at the foundation of how we structure projects for international co-production and streamer investment.
Section 481 Tax Credit
32%
of eligible Irish expenditure on qualifying projects - up to 40% for small and mid-budget productions - with eligible spend up to €125m - one of the most competitive screen production incentives in Europe.
Bank Cashflow Advance
80–90%
of the credit can be cashflowed during production - turning a future rebate into working capital before a single episode airs.
Maximum Eligible Spend
€70m
per project - covering everything from a Tier I series to the full ICU franchise. A new 40% VFX credit applies to productions spending at least €1m on visual effects (introduced 2025).
How the financing stack works
Section 481 Certification
Production company applies to Irish Revenue. Eligible spend covers Irish cast, crew, goods, services, and post-production.
Bank Cashflow
An Irish bank advances 80–90% of the confirmed credit during production, providing working capital against the guaranteed rebate.
Revenue Rebate
Irish Revenue pays the full 32% credit once audited accounts are submitted. The bank advance is repaid at no net cost.
Co-Production Stack
Section 481 anchors ~25% of the budget. The balance comes from streamer licences, broadcaster co-production, distributor MGs, and gap finance.
Example: €5m Budget - How It Stacks
The Company
Founded by two Irishmen who took the long road home – one through the world's biggest entertainment networks, the other through the boardrooms of international business – arriving back in Ireland with the same conviction: that Irish stories, told with ambition and craft, are among the most compelling in the world.
Their combined background spans scripted and unscripted television and licensing and merchandising across three continents. The slate reflects both: a slate of original scripted series sits alongside a growing portfolio of unscripted formats, each shaped by the same belief that Ireland has so much to offer for the world's screens.
Co-Founder · Producer & Director
Alan's career is built at the intersection of music, rock culture, and screen. Having cut his teeth in the development and producing end of the movie business in Los Angeles, he moved into the newly burgeoning unscripted format, and into one of the medium's most fertile periods.
Across the 2000s, he produced and directed multiple series during MTV's golden age, working across the same ecosystem that produced The Osbournes, one of the most-watched series in MTV history. His directing credits from that era include The Osbournes, Battle for Ozzfest, Meet the Barkers, and The Anna Nicole Smith Show. From there he went on to work with major US networks and platforms including FOX, CBS, Turner Networks, E! Entertainment, Food Network, and Live Nation.
He produced amongst others The Simple Life, iKid with Brad Garrett, Kitchen Inferno, multiple seasons of Food Network shows such as The Great Food Truck Race, as well as many pilots. He also co-directed Jazz Sabbath, a Spinal Tap-style mockumentary made with Adam Wakeman, keyboardist for Ozzy Osbourne and Black Sabbath, which entered the Billboard jazz chart at number six and carries an 8.0 on IMDb.
Across film development, US network television, unscripted formats, and music-world content, Alan brings the production fluency the slate demands.
Co-Founder · Writer & Producer
Patrick is the author of The Moral Market: Adam Smith and the Promise of Virtuous Capitalism, a work of intellectual and cultural history tracing the ethics of market capitalism from the 18th century to the present, published to coincide with the 250th anniversary of The Wealth of Nations.
He spent fourteen years at Mattel in senior roles across Amsterdam, Los Angeles, and China, spanning technology, content development, international licensing, and the commercial architecture of franchise IP. During his time in Los Angeles he originated and led the spin-out of Avatar Nations, a 3D personalisation platform built to allow for play across many media: video and board games, books, stickers, action figures, and more.
He subsequently co-founded a fintech in Amsterdam, scaling it from two employees to over 160, with a further 200 in India, before selling the company to a UK listed PLC. He serves on the boards of Chirp, an Irish child-safety technology company, and Sports Impact Technologies, and holds a Chartered Director designation from the Institute of Directors Ireland.
Across governance, international business, and intellectual life, Patrick brings the commercial architecture and creative ambition the slate demands.
Development & Production · Co-production · Licensing & Merchandising
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Dublin · London · Los Angeles