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

* Hollywood actor Burt Reynolds editorial w/ photos 
* Interview on a possible comeback in the film industry

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.
The front page has a few photos of Burt Reynolds with heading: "Burt Reynolds Is The Comeback Kid" And beginning on page 6 is a piece by Craig Modderno on Reynolds with a few more related photos. 
I suspect this to be an extremely rare item because there was really no reason to save it at the time.
Provenance note: This issue comes from The Los Angeles Times own archives, part of their in-house collection used to create their digital archive. Rare as such.
Complete Calendar section only with all 88 pages, tabloid size, very nice condition.

Background: The January 4, 1987 Los Angeles Times Calendar section feature by Craig Modderno, titled "Burt Reynolds Is the Comeback Kid," captures the iconic actor at a crucial turning point as he fought to reclaim his career and public image after a grueling mid-1980s slump. Written while Reynolds was promoting his gritty action film Heat (1986) and prepping Malone (1987), the profile delivers a candid, self-reflective interview where Reynolds addresses his fall from being Hollywood's #1 box office draw (Smokey and the Bandit, The Cannonball Run) into a series of commercial misfires like Stroker Ace and Stick. Crucially, the piece provided a major platform for Reynolds to confront the pervasive, career-damaging tabloid rumors regarding his health—specifically false claims that he had AIDS—which stemmed from severe weight loss following a horrific jaw injury suffered on the set of City Heat (1984). Beyond dispelling rumors, Modderno’s article stands out for its sharp focus on Reynolds' determination to abandon self-parody in favor of darker, dramatic roles, offering film historians a rare, contemporaneous look at the professional grit and personal vulnerability that laid the groundwork for his eventual 1990s resurgence in Evening Shade and Boogie Nights.