How to Watch the 'Secret Lives of Mormon Wives' Reunion
Ready for more of Hulu's Mormon Wives? The hit reality show that follows Taylor Frankie Paul, Jen Affleck and more Mormon mom influencers premiered its 10-episode second season on May 15. Now, the cast is assembling for the show's first reunion special.
Season 1 of The Secret Lives of Mormon Wives debuted in 2024 and followed a group of Mormon women -- dubbed #MomTok -- in the aftermath of a swinging sex scandal. Former Bachelor and Bachelorette star Nick Viall will host the season 2 reunion, which promises "secrets and scandals, never-before-seen footage, and a surprise announcement," according to Hulu.
Hulu renewed The Secret Lives of Mormon Wives for 20 episodes after season 1 -- and viewers have only seen half of them so far. Here's when #MomTok fans can watch the season 2 reunion.
Read more: Spectrum TV Select Customers Will Now Get Hulu for Free
When to watch the Mormon Wives reunion special on Hulu
At this point, you know to report to Hulu to stream The Secret Lives of Mormon Wives. The reunion drops on Tuesday, July 1.
If you still need to get the streaming service to watch the special, you can sign up for the ad-supported plan for $10 per month or $100 per year. To stream without ads, you'll need $19 per month version of Hulu. Reality fans with Hulu can also watch a new season of ABC's Bachelor in Paradise in July (it premieres July 7 and streams next day on Hulu).
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CNN
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Amid the AIDS crisis, this photographer documented a sunlit haven for gay men
In a grassy outcrop along Lake Michigan's deep blue waters, two young men pictured in a color slide photograph relax on towels, shirtless and curled against each other. Along the rocky ledges, other men chat and sunbathe, bicycles and shoes abandoned on the ground. A vintage Cherry Coke can — one of the image's only markers of time — gives the intimate scene a subtle feeling of an idyllic advertisement, and a sense of nostalgia. Decades later, that feeling is more acute: the gay beach in Chicago where it was taken no longer exists, memorialized today by a 2.5-acre garden in memory of those who lost their lives to AIDS. The image, shot by then-aspiring photographer Doug Ischar, is part of his series 'Marginal Waters,' capturing the summer of 1985 as gay Chicagoans gathered at the Belmont Rocks, which became both a site for pleasure and solace as the AIDS epidemic devastated LGBTQ+ life. The lakefront stretch was a haven until the early 2000s, when it was demolished and refortified to prevent coastal flooding. '(The photos) document a way of life that I thought was very particular and also feared was, in a sense, doomed,' Ischar said in a video call with CNN. Pockets where gay men could be open and relaxed in the US were rare, and the disease, ignored by the government for years, only stigmatized the community further during a time of peril. 'I feared the life of gay men would be forced back underground and hidden away, as it was for centuries,' he added. At the time, Ischar, who made the series during his graduate studies at California Institute of the Arts, found there was little interest in his work. But, decades later, encouraged by gallerists, he began bringing them out of the archives. 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CNN
42 minutes ago
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Amid the AIDS crisis, this photographer documented a sunlit haven for gay men
In a grassy outcrop along Lake Michigan's deep blue waters, two young men pictured in a color slide photograph relax on towels, shirtless and curled against each other. Along the rocky ledges, other men chat and sunbathe, bicycles and shoes abandoned on the ground. A vintage Cherry Coke can — one of the image's only markers of time — gives the intimate scene a subtle feeling of an idyllic advertisement, and a sense of nostalgia. Decades later, that feeling is more acute: the gay beach in Chicago where it was taken no longer exists, memorialized today by a 2.5-acre garden in memory of those who lost their lives to AIDS. The image, shot by then-aspiring photographer Doug Ischar, is part of his series 'Marginal Waters,' capturing the summer of 1985 as gay Chicagoans gathered at the Belmont Rocks, which became both a site for pleasure and solace as the AIDS epidemic devastated LGBTQ+ life. 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Though Ischar is a gay man, he was still an outlier there, documenting as a fly-on-the-wall rather than a participant in the scene — a 'resident nuisance,' as he described himself. He didn't know the couple relaxing with the Cherry Coke, nor had he ever seen them before. He was struck, however, by the 'lovely juxtaposition' of the position of their bodies and their skin tones, and the sweet nature of their young love. 'They're so tender with each other,' he said. Looking at the image, Schneider notes how their coiling form feels symbolic. 'It's a nice visual metaphor for what homosexuality is — not a meeting of opposites, a meeting of likeness,' he said. In other instances, Ischar captured similar moments of romance and desire: closed eyes, tilted heads, encircled arms, narrow gaps of space for low murmurs to travel. (Despite the sexual freedom the Rocks fostered, he never photographed any blatant sex acts, he noted). But other forms of intimacy were abound, too, in the casual ease of people sunbathing together, and the closeness of Ischar with his subjects as he moved in to snap each scene — intimacy that transfers to the viewer. Many of the days that passed that summer were unremarkable, Ischar said. But, visually, that was the point. Ischar set out to photograph images of gay men he had 'never seen,' he said — that is, out in the real world, going on about their lives. It was a departure from the staged, often dramatic studio portraits of artists like Robert Mapplethorpe and Peter Hujar, or earlier, George Platt Lynes and James Bidgood. In the 2010s and '20s, other queer archives of the 1970s and '80s have been discovered, rediscovered, or published anew, from Tom Bianchi's Polaroids of gay men summering at Fire Island, to Donna Gottschalk's images of a lesbian-separatist commune in California, to Patric McCoy's portraits of Black gay men in Chicago — the last of which is also featured in 'City in a Garden.' Ischar's own images languished for many years, he noted, but he hopes that is continuing to change. 'I really wanted to leave a hopefully beautiful and penetrating portrait of this time and these people,' he said.
