WASHINGTON (AP) — Two U.S. officials killed in a vehicle crash as they returned from destroying a clandestine drug lab in northern Mexico over the weekend were working for the CIA, according to a U.S. official and two other people familiar with the matter.
Two Mexican investigators also were killed in the crash, which Mexican authorities said occurred while the convoy was returning from an operation to destroy drug labs of criminal groups. There have been discrepancies in the public accounts of what happened from U.S. and Mexican officials, which experts say underscores heightened American involvement in security operations in Mexico and across the region.
The CIA's involvement was confirmed Tuesday by the three with knowledge of the crash, who spoke on the condition of anonymity to discuss sensitive intelligence matters. That the U.S. officials worked for the CIA was reported earlier by The Washington Post.
It comes after days of contradictions from Mexican and U.S. authorities about the role that American officials played in an operation to bust a narco-laboratory in northern Chihuahua state.
The lack of clarity from authorities reignited a debate over the extent of U.S. involvement in Mexico's security operations as Mexican President Claudia Sheinbaum faces extreme pressure from U.S. President Donald Trump's administration to crack down on cartels. Trump has taken a more aggressive stance toward Latin America than any leader in recent U.S. history, capturing Venezuela's president, blockading oil shipments to Cuba and launching joint military operations in Ecuador, a country also marked by criminal violence.
Trump has repeatedly offered to take action on Mexican cartels, an intervention that Sheinbaum has said was “unnecessary.”
The CIA officers were initially identified as U.S. embassy personnel by U.S. Ambassador to Mexico Ron Johnson, who is himself a former CIA employee.
The U.S. Embassy declined Monday to identify the individuals or which entity of the U.S. government they worked for, but said the officials were “supporting Chihuahua state authorities’ efforts to combat cartel operations.” The embassy, State Department and CIA declined to comment on the identities of reports of CIA involvement in the operation.
Local Mexican officials originally claimed they were working with the U.S. on an operation, but later walked those comments back after the effort came under scrutiny from Sheinbaum.
Sheinbaum said she knew nothing of a joint operation between Chihuahua’s government and the U.S. despite reports that the Mexican army was also involved in the raid on the lab.
She maintained in a Tuesday press briefing that she didn’t know if the officials were part of the CIA but acknowledged that state officials and the U.S. “were working together.”
It’s a sensitive issue for the Mexican leader as she walks a careful line with the Trump administration, working to maintain a strong relationship to offset threats of U.S. intervention on cartels and tariffs while also underscoring Mexico’s sovereignty.
The CIA has recently expanded its collaboration with Mexican authorities, part of the Trump administration’s effort to stop the flow of illicit drugs.
The presence of U.S. intelligence officials in Mexican territory has been the subject of ongoing debate, which has only intensified after Trump’s military actions in Venezuela and Iran.
Last year, Sheinbaum said the U.S. had conducted surveillance drone flights at Mexico’s request after a series of conflicting public statements.
The most recent controversy surfaced in January over the detention in Mexico of former Canadian athlete Ryan Wedding, one of the United States’ most wanted fugitives. While Mexican officials claim he surrendered at the U.S. Embassy, U.S. authorities have described his capture as the result of a binational operation.
“There is a rise of hidden operations by the United States in Mexico under Trump,” said David Saucedo, a Mexican security analyst. “They're hidden because … the Mexican government has a discourse that they can't permit the presence of armed U.S. agents — it's a kind of violation of sovereignty. The Mexican government has always tried to hide this collaboration.”
Janetsky reported from Mexico City. AP writer Zeke Miller contributed to this report.
Mexican President Claudia Sheinbaum addresses the media at the Meeting in Defence of Democracy summit, in Barcelona, Spain, Saturday, April 18, 2026. (AP Photo/Joan Monfort)
FILE - Mexican President Claudia Sheinbaum speaks during her daily morning press conference at the National Palace in Mexico City, Nov. 28, 2025. (AP Photo/Marco Ugarte, File)
The final of the Eurovision Song Contest got underway Saturday with tight security and rainy weather failing to dent the enthusiasm of the fans — or that of the critics who think Israel shouldn’t have been invited to the party.
After a week’s buildup, acts from 25 countries took the stage at the Wiener Stadthalle arena in Vienna to battle for the continent’s pop crown. Millions of viewers around the world will cast judgment on a fiery Finnish violinist, a Moldovan folk rapper, a Serbian metal band and many more at Eurovision’s 70th anniversary event.
The contest has been clouded for a third year by calls for Israel to be excluded over its conflicts in Gaza and elsewhere, with five longtime participants — Spain, the Netherlands, Ireland, Iceland and Slovenia — boycotting in protest.
Here is the latest:
Finland’s entry electrified, an early favorite in the competition with “Liekinheitin,” or “Flamethrower,” an animated mashup of pop singer Pete Parkkonen’s anguished vocals and violinist Linda Lampenius’ fiery fiddling.
Alicja, the entry for Poland, was betting on voters awarding big points to big vocals with her song “Pray” bringing up images of gospel music. Lion Ceccah, a prominent figure in Lithuania’s drag scene,iwas responsible for one of the more interesting entries with his trilingual “Sólo Quiero Más” (“I Just Want More”), an emotive synth-pop that plays out like a film noir.
Sweden’s Felicia wore a facemask as she rendered her “My System,” which wasn’t for the faint of heart. Cyprus’ Antigoni delivered a joyous “Jalla,” a summery pop song that weaves in traditional Cypriot instrumentation, including çifteli and lute, making it the perfect soundtrack to the beach vacation in your brain.
Italy's classist vocalist Sal Da Vinci sand his heart out to a new love with “Per Sempre Sì,” a fun vintage romp for those who miss the Eurovision of yore.
Croatia’s Lelek channeled something ancient and powerful with their goth-y folk “Andromeda.” Their stacked harmonies were only emboldened by their physical appearance: The women wore marks on their face and body meant to look like the same used to repel the Ottoman Empire.
The U.K.’s Look Mum No Computer with its “Eins, Zwei, Drei” was a thoughtful critique of the mundanity of labor but also catchy, synth-pop and goofy. Their stage design was also one of the most fun: soulless rectangular desks became imaginative platforms, like an alternative universe nightclub in space.
From France, Monroe’s “Regarde!” was strong on classism over all and judging by the cheers in the room – an effective one.
After the halfway mark, with just 10 performances remaining, Moldova’s rapper Satoshi performed the cheekily patriotic “Viva, Moldova!” with his full heart, in several languages, in a chorus so addictive it almost recalls the anthemic work of anthemic Irish hip-hop trio Kneecap.
Ukrainian singer Leléka offered the ethereal, beautiful “Ridnym,” and Australian star Delta Goodrem showed what a diva should be like with her slick midtempo ballad “Eclipse” — and a bravura performance that saw her raised into the air above a glittery piano. Id she wins, a European country would likely host for Australia next year.
Serbian metal band Lavina provided a dramatic change of pace with the angst “Kraj Mene.”
Aidan’s big-feelings “Bella,” Malta’s Eurovision entry, was all about romance: strings, big belts, swooning instrumentation. It was also one of few Eurovision entries from Malta to feature the Maltese language.
The Czech Republic put their hopes in Daniel Žižka’s “Crossroads,” a restrained pop ballad that builds to a triumphant chorus. Bulgaria’s Dara, a veteran pop performer at this stage, delivered an up-tempo pop banger “Bangaranga,” easily one of the most animated tracks of the bunch this year. And on stage, it was a mood elevator.
Even before the show’s halfway mark, there was already fire, smoke, animal prints and lots of sunglasses worn inside. Lavina, a metal band from Serbia, performed in a digital rainfall as well as burst of flames in studded leather, “Mad Max”-looking costumes.
Albania’s Alis used a smoke-filled stage with digital wings and a clock, inviting a woman depicting a mother onto the stage in a traditional folk dress for his driving, gloomy track, “Nân.” Sarah Engels of Germany added pyrotechnics to her “Fire,” naturally, and Delta Goodrem of Australia added a shimmering golden piano, fire and enough wind machines to power a small town.
Greece’s Akylas was playful with his pounding house track “Ferto,” dressed in tiger-striped shorts and a knit hat and using a scooter to glide along the stage, adding human statues. Ukraine needed only beams of light, a blowing curtain effect and Leleka’s powerhouse vocals as she delivered “Ridnym.”
Denmark’s all-Danish-language Eurovision entry was first with Søren Torpegaard’s “Før Vi Går Hjem,” which he delivered with the specific skillset of someone who has starred as Tony in “West Side Story,” Angel in “Kinky Boots” and Romeo in “Romeo & Juliet.”
Sarah Engels followed, representing her home country of Germany with “Fire.” As the second performer of the night, she took the opportunity to bring pyrotechnics to the stage.
Then came Noam Bettan’s “Michelle” — Israel’s inclusion in Eurovision, which has drawn criticisms. Spain, Ireland, the Netherlands, Slovenia and Iceland withdrew from the competition this year, choosing not to participate to protest Israel’s inclusion.
Most recently, Bettan’s performance was disrupted by protesters during the first semifinal on Tuesday; chants of “Stop the genocide!” were heard in the crowd. At the final, it wasn’t immediately clear if that continued.
Belgium’s Essyla took the stage with “Dancing on the Ice” — a cool ride with its chilly vocal performance and Billie Eilish-informed production, followed by Albania’s Alis.
Protesters called for Israel to be excluded from Eurovision demonstrated near the contest arena ahead of the final. Several hundred marched, with chants of “all of Vienna hates the ESC,” a reference to the Eurovision Song Contest.
They were kept well away from the venue which lies behind a police security cordon.
Demonstrator Echo Vinasha Lex said it was “important to protest against that idea that the song contest is not political. The song contest is a very political event.”
At the start, a filmed opening montage showcased Austria’s majestic scenery as a paper boat made its way to Vienna — a reference to 2025 Eurovision winner JJ’s storm-tossed performance of “Wasted Love.”
The show opened with a performance by last year’s winner, the operatically trained Austrian singer JJ, and an Olympic-style flag parade of the 25 finalists. Then it was on to performances by the musicians, who have just 3 minutes to win over millions of viewers who, along with national juries of music professionals, pick the winner.
The hosts for the extravaganza on Saturday are Michael Ostrowski, an Austrian actor best known for German-language comedy films, and Victoria Swarovski, a model, singer, TV presenter and heir to the Swarovski crystal and luxury goods business.
The head of the Eurovision Song Contest has urged viewers to put politics aside and enjoy the “brilliant, wonderful, heartfelt show” that is the competition’s grand final.
As the contest turns 70 with calls for Israel to be kicked out over the conduct of its war in Gaza and a five-country boycott, Eurovision director Martin Green said the contest is a chance for a few hours to “close the curtains to the outside world and dream that something else is possible.”
He told a news conference that for 70 years Eurovision has given “voice to the voiceless” and celebrated marginalized communities.
“Here’s to the next 70 years,” he said.
Demonstrators protest against Israel ahead of the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Saturday, May 16, 2026. (AP Photo/Martin Meissner)
Satoshi from Moldova performs the song "Viva, Moldova!" during the dress rehearsal for the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Friday, May 15, 2026. (AP Photo/Martin Meissner)
Delta Goodrem from Australia performs the song "Eclipse" during the dress rehearsal for the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Friday, May 15, 2026. (AP Photo/Martin Meissner)
Linda Lampenius and Pete Parkkonen from Finland perform the song "Liekinheitin" during the first semifinal of the 70th Eurovision Song Contest in Vienna, Austria, Tuesday, May 12, 2026. (AP Photo/Martin Meissner)
Demonstrators protest against Israel ahead of the Grand Final of the 70th Eurovision Song Contest in Vienna, Austria, Saturday, May 16, 2026. (AP Photo/Martin Meissner)
