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Production on Season 5 of “The Secret Lives of Mormon Wives” will resume after filming was halted weeks ago amid a domestic violence investigation involving star Taylor Frankie Paul, The Times has learned.

Filming on the Hulu reality series paused in mid-March after the Draper City Police Department in Utah launched an investigation that involved Paul and her ex-boyfriend Dakota Mortensen and stemmed from an alleged incident in February. It was later revealed that Paul was under investigation for an alleged third domestic violence incident involving her and Mortensen in 2024, which was being led by police in West Jordan, Utah. The Salt Lake County district attorney’s office announced last week it would not be filing charges against Paul.

It has not been disclosed when cameras will pick back up or whether Paul or Mortensen will return to the series. In addition to Paul, the main cast includes Whitney Leavitt, Mayci Neeley. Jessie Draper, Jen Affleck, Mayci Neeley and Miranda McWhorter.

Paul was previously arrested in 2023 for another incident with Mortensen, which was partially documented on Season 1 of “Mormon Wives.”

“Here come the ugly parts of what healing actually looks like,” Paul wrote in a lengthy post Sunday on Instagram. “If you know me you know I’ll admit my parts, flaws, and faults. I’m well aware thats apart of it. We’ll get there. This public atrocity that I not only lived through once but twice now, on even a bigger scale was ultimately the cost to my freedom. I wouldn’t wish this upon my worst enemy or even the ones who publicized it. I cried on my knees in pain while also saying THANK YOU 🙏🏼”

When the investigation tied to the alleged February incident was made public, a video from the events involving the 2023 incident — showing Paul throwing barstools at Mortensen while her young daughter was present — was leaked to TMZ. It quickly led to ABC pulling Paul’s season-headlining “The Bachelorette” just three days before its March 22 premiere.

“For Want of a Horse,” a play by Olivia Dufault receiving its world premiere in an Echo Theater Company production at Atwater Village Theatre, wants to have a rational conversation about a taboo topic that can provoke instant outrage.

The subject is zoophilia, not to be confused with bestiality, though for many of us it will be a distinction without much of a difference.

Calvin (Joey Stromberg), a good-looking, mild-mannered married accountant, has harbored a secret for much of his life. He has a thing for horses. His erotic interest began at an early age, and all his efforts to lead a normal life have left him depressed and contemplating suicide.

His wife, Bonnie (Jenny Soo), is a permissive kindergarten teacher who’s having difficulty restraining a girl in her class who has discovered the joys of masturbation. Worried about her husband, she discovers through his browsing history that he’s once again visiting strange animal sites.

She suggests he keep a horse, explaining that she doesn’t want to end up a widow or divorcée. Calvin is taken aback by her generosity but has come to recognize that his preference is more than a kink. It’s part of his identity — and maybe the only part that makes his life seem worth living.

Joey Stromberg and Jenny Soo in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

A horse named Q-Tip (Griffin Kelly) enters the couple’s lives. A stable is secured, and the mare, who senses that something strange is going on, is indulged with apples and caresses.

Kelly, a statuesque presence in a dress, harness and boots, brings the horse to life with wild, unpredictable movements. The sheer size of the animal poses a threat to humans. One kick, as Q-Tip herself explains in one of her thought-bubble monologues, is capable of penetrating a steel wall. But controlling an animal’s food supply is an effective way of winning over its trust.

Calvin has found support in the online zoophilia community. PJ (Steven Culp), a man whose current inamorata is a bichon frise, is considering moving to a country where zoophilia isn’t illegal. He’s tired of the shame and the secrecy. He’s proud of his attachment to pooch, even if his thing for dogs has cost him contact with his daughter and ex-wife.

Dufault doesn’t shy away from sexual details. For PJ, intimacy depends on peanut butter. Calvin describes the physical signals that reveal Q-Tip’s erotic satisfaction. The play occasionally descends into sitcom humor. (PJ says he’s considering creating a human-dog dating app called Rin Tin Tinder.) But mostly the subdued tone steers clear of sensationalism.

The production, directed by Elana Luo, is scrupulously well-acted by the four-person cast. Stromberg makes Calvin seem not only reasonable but surprisingly sensitive. Soo’s Bonnie sweetly embodies the excesses of a kind of progressive piety. As PJ, Culp gruffly embraces his role as the play’s polemical fire-starter. And Kelly’s Q-Tip, in the production’s most physically demanding performance, straddles the human-animal divide with theatrical aplomb.

Steven Culp, left, and Joey Stromberg in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

The open-mindedness that Dufault, a trans playwright, brings to the play creates some dramatic slack. Possibly the same fear of making value judgments that has inhibited Bonnie from imposing common-sense discipline in her classroom has robbed “For Want of a Horse” of a propulsive point of view.

The play moves monotonously between Calvin and Bonnie’s bedroom and the stable. Scenic designer Alex Mollo has worked out an efficient way of shifting between these realms by employing the same set of wooden trunks. But the argument of the play doesn’t so much build as elapse.

Time takes its toll, and Calvin eventually has to make a decision. But the character who interested me most was Bonnie, whose reality is only glimpsed. The play tacitly uses her husband’s threat of suicide as a trump card. Zoophilia isn’t merely a fetish for Calvin but a nonnegotiable part of his identity.

This questionable assumption can be psychologically scrutinized not only from Calvin’s point of view but also from his wife’s. The play wants to have an intelligent debate, but it doesn’t want to interrogate certain political positions too skeptically.

At one point, Bonnie objects when Calvin compares his situation to that of homosexuality, but the conversation ends there. The reality is that the right wing has been making a similar claim, arguing that same-sex marriage opens the door to bestiality, polygamy and incest. “For Want of a Horse” inadvertently lends legitimacy to this line of reasoning.

Griffin Kelly in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

Not that extremist positions should be off limits, but they ought to be more rigorously addressed. Similarly, Bonnie’s concern about the issue of consent — how can a horse say yes to intercourse with a human — is introduced only to be dismissed in a shrug of mild-mannered bothsidesism.

While watching “For Want of a Horse,” I recalled a program on PBS called “My Wild Affair” that wasn’t about zoophilia but about the problematic nature of human bonds with untamed animals. Relationships with a seal, an elephant and a rhino, for example — obsessive, protective, loving friendships — all seemed to end if not in outright tragedy, then in shattering heartbreak.

Q-Tip is rightfully given the play’s last word, and Kelly, an actor (HBO’s “The Book of Queer”), writer and comedian, is the production’s driving force. We can never know what’s inside this mare’s mind because Q-Tip’s brain has evolved so differently from our own. Kelly plays the anthropomorphic game while retaining some of the inscrutability of a four-legged creature.

It is through language that we, as humans, traverse the chasm separating us from one another. That’s not possible with animals, even with our closest domestic companions. (Try explaining a necessary medical procedure to a cat.)

“For Want of a Horse” sets out to speak about the unspeakable, but its construction may be too tame for such a wild subject.

The Army is accelerating procurement of 30x113mm XM1225 Aviation Proximity Explosive (APEX) rounds for its fleet of AH-64 Apache attack helicopters. The move comes as the service is looking to enhance the aircraft’s burgeoning role as a counter-drone platform, something The War Zone has covered frequently. These shells, fired by the Apache’s chin-mounted M230 cannon, will add to its drone-killing arsenal, giving it a cheaper and more plentiful engagement option than some of the alternatives. You can read all about the XM1225 APEX round in our previous coverage here.

Seeing a growing need for these rounds, the Army went to Northrop Grumman, which makes them, and asked them to boost production, said Maj. Gen. Clair A. Gill, commander of the U.S. Army Aviation Center of Excellence at Fort Rucker, Alabama. He was speaking during the Army Aviation Association of America’s Army Aviation Warfighting Summit in Nashville, Tennessee, which TWZ was in attendance.

“We had had 600 rounds total,” Gill explained. “They produced 1,000 already this month and can produce another 1,000 and will ramp their rate up to probably five times that.”

The company could not immediately comment about this effort.

The specialized APEX ammunition works by detonating only when it is close to an object, then it explodes in a spray of shrapnel. This is critical to shooting down drones, which are small, independently moving targets. These rounds could also be used against surface targets like personnel, soft-skinned vehicles, and small boats, where they would provide unique area effects compared to the Apache’s standard impact-detonating, high-explosive ammunition.

Earlier this year, we reported that Apaches live-fire tested the ammo last December at the service’s sprawling Yuma Proving Ground (YPG) in southern Arizona. 

“The Apache Attack Helicopter AH-64 has reached a new milestone in battlefield capability with the successful live fire test” of the APEX ammunition, the Army said in a February news release. “In December 2025, the Apache demonstrated its first-ever air-to-air engagement using 30mm proximity ammunition against unmanned aircraft systems targets at various ranges, showcasing the precision, versatility, and lethality of this advanced ammunition.”

The Army added that the Apex cartridge “is designed to counter modern threats, including UAS, exposed personnel and small boats, without requiring modifications to the Apache’s M230 Area Weapon System or fire control system.”

The M230LF Bushmaster Chain Gun | XM914

As we have pointed out in the past, these rounds require little additional training for Apache crews, because their ballistic properties are nearly identical to the M789 high-explosive dual-purpose (HEDP) rounds already fielded, which use an impact/grazing fuze to command detonation.

An additional benefit is that self-destructing proximity fuzed rounds mitigate some of the dangers of attacking drones with ammunition that will keep traveling for long distances if it doesn’t hit a target. This is a frequent occurrence with standard high-explosive or incendiary cannon rounds.

While the Israeli Air Force pioneered the counter-drone role for the AH-64 for years, the U.S. Army has formally codified it and added new capabilities in the process. A five-fold boost in procurement is a strong indication that the Army sees the value of the APEX rounds for these missions.

Contact the author: howard@thewarzone.com.