SAG-AFTRA wants 2% of the revenue that each show generates for a streaming platform to be paid to performers. The union would use Content Valuation, a measurement tool introduced last fall by Parrot Analytics, to determine how much each show is worth to the platform.

Parrot Analytics uses Google searches, social media mentions, and other data sources to measure demand for each show. The metric is not trying to determine viewership, but rather the impact of each show on a company’s revenue. To estimate that, it uses quarterly earnings data and apportions revenue — including subscriptions and ads — to each show on the platform.

In late December, the WGA announced a new "divide and conquer" strategy designed to break the solidarity of the AMPTP by negotiating strategic interim deals with individual networks, studios, and production companies who were willing to agree to the WGA's proposals. This was intended to put pressure on the other member companies, especially those who were competing with companies that were then able to return to production. The approach resulted in deals with David Letterman's television production company Worldwide Pants,[99][100] another with feature studio United Artists,[101] and a third one with film studio The Weinstein Company.[102] The new strategy contained some risk for the WGA, however, as there was a risk that some members may resent a few writers working while others were still on strike.

On January 14, 2008, two additional side deals were announced by the WGA – one with Media Rights Capital, a production company working on both features and television, and the other with Spyglass Entertainment.[103][104] On January 25, 2008, another side deal was reached; the WGA and Marvel Studios signed an interim comprehensive agreement.

According to the SAG-AFTRA FAQ relating to conventions, striking actors can participate in independent conventions (i.e. conventions not run by or affiliated with struck companies, like Disney's D23 Expo and Star Wars Celebration), as long as they do so in a way that doesn’t promote their work on struck projects.

For one, actors are allowed to participate in conventions to promote work that isn’t struck, for example, television animation or video game work. In other words, Sean Astin would not be able to answer questions about Lord of the Rings or Stranger Things, but could answer questions about the Teenage Mutant Ninja Turtles animated show and Bunnicula, as they are television animation and thus, not struck work.

Or, actors can simply avoid talking about their specific work altogether. As for what can be discussed along these lines, according to the FAQ, “General topics are fine, such as about your process, why you wanted to be an actor, what you like/dislike about the industry, and the like are fine. You should avoid discussing characters you played on struck work or your work for struck companies.”...

Autographs are a huge part of shows like LA Comic Con. Regarding autographs, the SAG-AFTRA FAQ reads, “You should plan to sign headshots or similar photos of you during your autograph signing. You cannot offer photos of you as a character from struck work. If a fan asks you to sign your photo with your character name or a quote from struck work it is up to your discretion whether to comply with the fan’s request.” However, Actors can sign photos/posters and such related to their struck projects as long as they do not provide them themselves.

As first reported in NYT, the union still considers existing TV rewatch podcasts under a contract to be a form of promoting struck work — they can continue to publish new episodes during the strike.

But don’t expect out-of-work actors to launch any new podcasts — the union says both signing new contracts for rewatch podcasts and rewatch podcasts not under a SAG-AFTRA contract are off-limits.

“Rewatch Podcasts are considered promotional. Hosts should honor any pre-existing contracts but, if a contract is not involved, they should not promote struck work, past or current. Guests appearing on podcasts should not promote struck work under any circumstances,” the union’s national director of contract initiatives and podcasts, Sue-Anne Morrow, wrote in an email to Hot Pod.

Given the timing of when the contracts were signed, this guidance very likely gives the green light for new rewatch podcasts on Full House and Bones to launch their first episodes. But the union is giving a lot less leeway to any future projects.

The union posted a new FAQ on how the strike impacts podcasts, with additional guidelines for rewatch and companion podcasts. It instructs members who are approached by a producer to appear in a companion, rewatch, or other entertainment-focused podcast to steer clear of such work. “Members should not accept any new contract to host a show that promotes struck work while the union is on strike,” says the FAQ.

Listeners may also see their favorite rewatch podcasts make some programming changes. According to the FAQ, the union is asking hosts of such podcasts to consider changing up their content during the strike’s duration: “You are free to continue hosting your podcast that is signed to one of our agreements, but if you are able to pivot your show away from the promotion of struck work, we strongly encourage you to do so. We are all in this fight together.”

Most writers are refraining from press interviews for their shows, promotional events organized by networks or studios, and from posting on their own social media accounts, where they would boost awareness about their work. This includes projects that were completed before the strike and those that are currently in production — though some shows have stopped production because of the strike.

Still, in a media environment where the line between promotion and water-cooler conversation is not always clear, writers are not necessarily certain what is, or isn’t, within the rules.

A spokesperson for the WGA directed The Times to the FAQ section of the strike rules under the question, “Can I promote my project at a film festival or at a ‘For Your Consideration’ event about the film or show I wrote on?” The guild advises, “No. You should let the Company know you are prohibited from making these promotional appearances about your work until the strike concludes.”

A source who works with writers and who requested anonymity in order to share private communication, pointed to updated guidance from the guild that appeared to leave the door open for some promotion. It read: “[I]f they wanted to promote their work on their own accord, that would not be prohibited, so long as they aren’t interacting with struck companies or appearing alongside company execs at a press event.”