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COMEY'S COVERT COMMS
As you know from my research and analysis, coup-plotters communicate in code, and nothing is a coincidence when it comes to their plotting.
Here is my latest analysis.
Four days ago, former FBI Director Jim Comey posted a video about Beyoncé's song "Sandcastles." Why did he do it? Is he genuinely such a fan of Beyoncé (or Taylor Swift, as seen in his previous posts)?
Of course not!
He posted it because it is highly likely that Comey pre-agreed with his co-conspirators, including Andy McCabe, Peter Strzok, Lisa Page, and others, that they should monitor his Instagram posts for important messages. Remember, when subjects are under investigation, they are typically instructed by their lawyers not to communicate directly with each other. Comey cannot simply meet Pete or Andy for coffee to coordinate strategies, such as how to lie to investigators. He could be questioned about such contacts during depositions. Or (as they might fear) they could be under surveillance: after all, they spied on their opponents, so they assume the same is being done to them.
Last year, I wrote about how Comey used similar "Taylor Swift" posts to signal his upcoming indictment (search "Lokhova Comey Taylor Swift" on X for my analysis).
Now, he is likely employing the same technique in response to Grand Jury subpoenas.
We have thus established a working theory for why Comey is communicating this way: through Instagram stories about pop songs, to signal his co-conspirators.
We have also established why now: because he and the others are responding to subpoenas.
Now, to the substance of his communications.
Comey claims that the FBI codenames are random. Why does he need to do it?
Comey and company want us to believe that everything they did regarding President Trump was legitimate—perhaps with a few mistakes made by hardworking FBI personnel in response to "Russia's interference in the U.S. election, assisted by the Trump campaign," or the "unprecedented attack on our nation on January 6th," or whatever narrative fits.
But the evidence shows that Comey and his allies ran a long-term, premeditated, organized plot to overthrow the President of the United States.
The code names of the FBI investigations into Donald Trump form key evidence of this. Nothing is random or coincidental—Comey and company chose code names that reflect their shared goals.
I have already explained how the Hillary email investigation was codenamed "MidYear Exam" because they intended to clear her by mid-2016, before she was anointed as the Democratic presidential candidate at the late-July DNC convention.
I also explained that "Crossfire Hurricane" refers to the Rolling Stones song (from the movie Jumpin' Jack Flash), where the main character is a British spy fighting the Soviets—a clear nod to Christopher Steele and the fabricated "Russian" angle.
Comey and company must conceal this and pretend the code names are arbitrary. They cannot admit that the entire Hillary Clinton investigation was designed to result in her clearance by the "Mid-Year" mark (i.e., before the DNC convention).
The coup plotters also cannot admit that they used British spy Christopher Steele to launch the Trump investigation, knowing full well that Steele was paid by Hillary—and that the so-called Steele Dossier was in fact written by Hillary's cronies and then laundered through Steele.
The official story is that the FBI's Trump-Russia investigation was opened because of a conversation between a junior Trump advisor (George Papadopoulos) and the Australian ambassador in a men's room in a London bar. Yes, it's a ridiculous story, but they have to stick to it. It shifts blame squarely onto the Trump campaign and Russia—not onto a premeditated coup orchestrated by the FBI, the Hillary campaign, British intelligence, the CIA, and the Obama administration.
So they cannot admit that the "Crossfire Hurricane" code name refers to British spy Christopher Steele. (As I've previously explained, it draws from the Rolling Stones song "Jumpin' Jack Flash" and its use in the movie of the same name, where a British agent fights Soviet threats—a clear parallel to Steele fabricating Russian dirt.) The dossier was supposed to arrive after the investigation was already opened, not serve as the reason for launching it.
Instead, they cling to the narrative that long after opening Crossfire Hurricane, they received "independent corroboration" from British intelligence. That's why Steele's FBI codename was CROWN—Comey and company wanted to make it appear as though the information came straight from the British government itself, the Crown. No one could accuse the Queen of meddling in a U.S. election for partisan reasons. The story goes: Steele was simply helping an ally on official orders from his government.
That's exactly why they must stick to their story. The codenames give the whole game away.
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