Omar Oswaldo Torres, the leader of the Los Mayos faction of the Sinaloa criminal network, was detained in the raid.
Published On 19 Mar 202619 Mar 2026
Mexican authorities have revealed that 11 people were killed during a raid that resulted in the capture of Omar Oswaldo Torres, the leader of a faction of the Sinaloa Cartel.
In a social media post on Thursday, the Mexican Navy said the raid took place in Culiacan, part of the state of Sinaloa in northern Mexico.
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It alleged that its personnel were attacked at the site of the raid and returned fire, killing 11 “assailants”. Their identities have yet to be released to the public.
“High-powered weapons and tactical equipment were seized at the scene,” the navy said in a statement.
The navy added that a woman identified as Torres’s daughter was also present during the operation, but she was released to her family due to a lack of connection to criminal activities.
Torres, known by the nickname “El Patas”, is the leader of the Los Mayos faction of the Sinaloa Cartel.
In recent years, Los Mayos have been in a fight with another faction, Los Chapitos. Each side is named for a different Sinaloa Cartel leader: Joaquin “El Chapo” Guzman and Ismael “El Mayo” Zambada, both of whom have been arrested and imprisoned in the United States.
Thursday’s raid comes as governments across Latin America seek to deliver US President Donald Trump tangible results in the fight against crime and drug trafficking.
Just this week, the Mexican government participated in a law enforcement operation with Ecuador and Colombia to arrest Angel Esteban Aguilar, the leader of the Los Lobos crime group.
A separate Mexican military operation in the state of Jalisco last month led to the death of Nemesio Oseguera, also known as “El Mencho”, the leader of the Jalisco New Generation Cartel.
Criminal groups responded with a burst of violence, including the erection of roadblocks and attacks on security force outposts across Mexico.
Critics have questioned the efficacy of the more militarised methods Trump has pressured Latin American leaders to use against cartel leaders.
Capturing or killing cartel leaders is sometimes referred to as a “decapitation strategy”, and the method is designed to weaken the structure of criminal networks.
But experts warn that the “decapitation strategy” risks increasing violence over the long term, as new conflicts emerge to fill the leadership vacuum.
Many also point out that such militarised approaches fail to address the root causes of crime, among them corruption and poverty.
Still, Trump has labelled groups like the Sinaloa Cartel “foreign terrorist organisations”, and has indicated he would consider taking military action on Mexican soil against such groups, despite concerns that such actions would violate Mexican sovereignty.
“We have to eradicate them,” Trump said of the cartels. “We have to knock the hell out of them because they’re getting worse. They’re taking over their country. The cartels are running Mexico. We can’t have that.”
Mexican officials, meanwhile, have called on the US to stem the flow of illicit weapons into Mexico, to little avail.
Last year, the Supreme Court struck down a lawsuit from the Mexican government accusing US gun manufacturers of negligence, given that their products end up arming criminal networks in the Latin American country.
The House of Pies, a Los Feliz institution, is bustling on a chilly January morning.
It wouldn’t be shocking if some of the patrons here for breakfast were casually chit-chatting about the cultural behemoth that “KPop Demon Hunters” has become. After all, the 2025 animated saga about three music stars fighting otherworldly foes is now the most-watched movie ever on Netflix; “Golden,” its showstopping track, has since become the first Korean pop song to ever win a Grammy.
But for Danya Jimenez, 29, who sits across from me sipping coffee, the reception to the movie she began writing on back in 2020 isn’t entirely surprising, but certainly delayed.
“When we first started working on it, I was like, ‘People are going to be obsessed with this. It’s going to be the best thing ever,’” she recalls. But as several years passed, and she and her writing partner and best friend Hannah McMechan, 30, moved on to other projects. They weren’t sure if “KPop” would ever see the light of day. Production for animation takes time.
It wasn’t until she learned that her Mexican parents were organically aware of the movie that Jimenez considered it could actually live up to the potential she initially had hoped for.
“Without me saying anything, my parents were like, ‘People are talking about this’ — like my dad’s co-workers or my aunt’s friends — that’s when I started to realize, ‘This might be something big,’” she says.
“But never in my life did I think it would be at this scale.”
“KPop Demon Hunters” is now nominated for two Academy Awards: animated feature and original song. And that’s on top of how ubiquitous the characters — Rumi, Mira and Zoey — already are.
“Everyone sends me photos of knockoff ‘KPop Demon Hunters’ dolls from across the border,” Jimenez says laughing. “My friend got me a shirt from Mexicali with the three girls, but they do not look anything like themselves. She even got my name on it, which was awesome.”
After graduating from Loyola Marymount University in 2018, Jimenez and McMechan quickly found their footing in the industry, as well as representation. But it was their still unproduced screenplay, “Luna Likes,” about a Mexican American teenage girl obsessed with the late chef and author Anthony Bourdain, that tangentially put them on the “KPop” path.
“Luna Likes” earned the pair a spot at the prestigious Sundance Screenwriters Lab, where Nicole Perlman, who co-wrote “Guardians of the Galaxy,” served as one of their advisors. Perlman, credited as a production consultant on “KPop,” thought they would be a good fit.
Jimenez didn’t see the connection between her R-rated comedy about a moody Mexican American teen and a PG animated feature set in the world of K-pop music, but the duo still pitched. Their idea more closely resembled an indie dramedy than an epic action flick.
“If [our version of ‘KPop’] were live-action, it would’ve been a million-dollar budget. It was the smallest movie ever. Our big finale was a pool party,” Jimenez says. “We had all of the girls and the boys with instruments, which obviously is not a thing in K-pop, and everyone was making out.”
Even though their original pitch wouldn’t work for the film, Maggie Kang, the co-director and also a co-writer, believed their voices as two young women who were best friends, roommates and creative collaborators could help the movie’s heroines feel more authentic.
“Maggie had already interviewed all of the more established writers, especially older men,” Jimenez says. “She knows the culture. She knew K-pop, she’s an animator. She just needed the girls’ voices to come through, so I think that’s why we got hired.”
Kang confirms this via email: “It’s always great to collaborate with writers who are the actual age of your characters! Hannah and Danya were exactly that,” she says. “They were very helpful in bringing a fresh, young voice to HUNTR/X.”
Neither Jimenez nor McMechan were K-pop fans at the time. As part of their research, they both started watching K-pop videos, but it was McMechan who got “sucked into the K-hole” first. Still, it didn’t take long until the video for BTS’ “Life Goes On” entranced Jimenez.
“K-pop is a river that you fall into, and it just takes you,” Jimenez says. BTS and Got7 are her favorite groups. For McMechan, the ensemble that captivates her most is Stray Kids.
In writing the trio of demon hunters, the co-writers modeled them after themselves. The characters’ propensity for ugly faces, silliness and a bit of grossness too, stems from the portrayals of girlhood and young womanhood that appeal to them. Jimenez, who says she was an angsty teen, most closely identifies with the rebellious Mira.
“I have a monotone vibe,” says Jimenez. “People always think that I’m a bitch just because I have a resting bitch face,” she says. “But as you can see in the movie, Mira cares so much about having everyone be really close. I feel like that’s how I’m with all my friends.”
Characters with strong personalities that are not simplistically likable feel the truest to Jimenez. In “Luna Likes,” the prickly protagonist is directly inspired by her experiences growing up, as well as the bond she shared with her dad over Bourdain’s “Parts Unknown” show.
“There’s a pressure to show that Mexicans are nice people and we’re hard workers. I was like, ‘Let’s make her kind of bitchy and very flawed,’” Jimenez says about Luna. “She’s a teenager in America and she should be given all the same opportunities — and also the forgiveness for being an ass— and [as] selfish at that age as anybody else.”
Hannah McMechan, left, and Danya Jimenez, co-writers of “KPop Demon Hunters,” met in college.
(Carlin Stiehl / For The Times)
Though their upbringings were markedly different, it was their shared comedic sensibilities that connected Jimenez and McMechan when they met in college. The two were close long before deciding to pen stories together. “Having a writing partner is the best. I feel bad for people who don’t have a writing partner, no offense to them,” says Jimenez.
McMechan explains that their writing partnership works because it’s grounded on true friendship. And she believes they would not have gotten this far without each other. While McMechan’s strong suit is looking at the bigger picture, Jimenez finds humor in the details.
“Danya is definitely funnier than me,” says McMechan. “It’s really hard to write comedy in dialogue versus comedy in a situation because if you’re putting the comedy in the dialogue, it can sound so forced and cringey. But she’s really good at making it sound natural but still really funny.”
Though she had been writing stories for herself as a teen, Jimenez didn’t consider it a career path until as a high schooler she watched the romantic comedy “No Strings Attached,” in which Ashton Kutcher plays a production assistant for a TV series.
“He is having a horrible time. But I was so obsessed with movies and TV, and I was like, ‘That looks incredible. I want to be doing what he’s doing,’” she recalls. “And my dad was like, ‘That’s a job.’”
Danya Jimenez grew up in Orange County.
(Carlin Stiehl / For The Times)
As an infant, Jimenez spent some time living in Tijuana, where her parents are from, until the family settled back in San Diego, where she was born. And when she was around 5 years old, Jimenez, an only child, and her parents relocated to Orange County. Until then, Jimenez mostly spoke Spanish, which made for a tricky transition when starting school.
“I knew English, but it just wasn’t a habit,” she recalls. “I would raise my hand and accidentally speak Spanish in class. My teachers would be like, ‘We’re worried about her vocabulary.’ That was always an issue, so it’s really funny that I turned out to be a writer.”
As she points out in her professional bio, it was movies and TV that helped with her English vocabulary, especially the Disney sitcom “Lizzie McGuire.”
Jimenez describes growing up in Orange County with few Latinos around outside of her family as an alienating experience. She admits to feeling great shame for some of her behaviors as a teenager afraid of being treated differently and desperate to fit in.
“I would speak Spanish to my mom like in a corner because I didn’t want everyone else to hear me speak Spanish,” Jimenez confesses. “If my mom pulled up to school to drop me off playing Spanish hits from the ‘80s or banda, I was like, ‘Can you turn it down please?’”
Like a lot of young Latinos, she’s now taking steps to connect with her heritage, and, in a way, atone for those moments where she let what others might think rob her of her pride.
“During the pandemic I cornered my grandma to make all of her recipes again so I could write them down,” she recalls. “Now I have them all written down on a website. Or if my mom corrects me for something that I’m saying in Spanish, I now listen.”
At the risk of angering her, Jimenez describes her mother as a “cool mom,” and compares her to Amy Poehler’s character in “Mean Girls.” Raised in a household without financial struggles, Jimenez doesn’t often relate to stories about Latinos in the U.S. that make it to film and TV. Her hope is to expand Latino storytelling beyond the tropes.
“That’s very important to me, to just tell Latino stories or Mexican stories in a way that’s just authentic to me and hopefully someone else is like, ‘Yes, that’s me,’” she says. “A lot of people have certain expectations for Latino stories that I’m not willing to compromise on.”
Though they still would like to make “Luna Likes” if given the chance, for now, Jimenez and McMechan will continue their rapid ascent.
They’re “goin’ up, up, up” because it is their “moment.” They recently wrapped the Apple TV show “Brothers” starring Matthew McConaughey and Woody Harrelson that filmed in Texas. They are also writing the feature “Attack of the Fifty Foot Woman” for Tim Burton to direct, with Margot Robbie in talks to star.
“I feel like I’ve just been operating in a state of shock for the past, I don’t know how many months since June,” says Jimenez in her signature deadpan affect. “But if I think about it too much, I’d be a nervous wreck.”
Burnt out buses and trucks lined the highway to Guadalajara, Mexico’s Estadio Akron in what is reportedly a cartel reprisal to an earlier federal law enforcement operation. Burning vehicles causing roadblocks have been reported across the state of Jalisco, including in the major tourist city of Puerto Vallarta.
