Sunday CALENDAR SECTION only of the Los Angeles Times, Oct. 4, 1987

* Best "Near Dark" advertisement 
* Opening day film - movie premiere 
* American neo-Western horror - vampires
* Motley Crue w/ Whitesnake concerts ad

Often revered as the undisputed "bible" of Hollywood, the Sunday Calendar section occupied a rare space in journalism where a single publication could simultaneously dictate global entertainment trends and govern the inner workings of show business. Today, physical copies are an absolute rarity, largely because they were printed on standard, ephemeral newsprint designed to be devoured and promptly discarded at the end of the week.
Page 16 has a full page advertisement for the upcoming opening day premiere for the film "NEAR DARK" later that week. (see image)
Provenance note: This issue comes from The Los Angeles Times own archives, part of there in-house collection used to create their digital archive. Rare as such.
I suspect this to be an extremely rare item because their was really no reason to save it at the time.
Complete with all 112 pages, tabloid size in very nice condition.

Background: Near Dark (1987), Kathryn Bigelow’s solo directorial debut, holds immense cinematic significance as a seminal cult film that revolutionized the modern vampire mythos by stripping away traditional Gothic tropes—such as fangs, cloaks, and crosses—in favor of a gritty, sun-baked neo-Western cross country odyssey. Its cultural impact stems from Bigelow's visionary decision to reimagine vampires as a nomadic, leather-clad gang of outlaw drifters tearing through the American Southwest, transforming the creatures of the night into predatory, addicted antiheroes operating on the fringe of society. Featuring electric, unhinged performances by an ensemble cast that included Aliens veterans Bill Paxton and Lance Henriksen, and propelled by an ethereal, synth-heavy score by Tangerine Dream, the film challenged standard genre boundaries. Though commercially overshadowed at the box office by its polished, MTV-style contemporary The Lost Boys, the film’s post-theatrical rediscovery on VHS cemented its legendary status, serving as a vital precursor to Bigelow’s historic career as an action-realism auteur and establishing a whole new blueprint for cinematic vampire realism.