What channel is Maple Leafs vs. Canadiens on today? Time, TV schedule for Game 7 of NHL playoff series

The Maple Leafs and Canadiens are preparing to get down to business in the second Game 7 of the 2021 Stanley Cup end of the season games. The Golden Knights had the option to knock off the Wild in the primary Game 7 of the postseason on Friday night. The 6-2 triumph saw the higher seed arise as the victor, and the Maple Leafs will trust that set of experiences rehashes the same thing on Monday.

Be that as it may, the Canadiens will be hoping to play spoiler and set up a second-round date with the Jets. Montreal won the last two games in additional time to keep the arrangement alive in the wake of being down 3-1 to the Maple Leafs.

Montreal will be hoping to keep Toronto’s dash of five back to back opening-round NHL season finisher misfortunes going. Then, the Maple Leafs will be hoping to secure an arrangement interestingly since the 2003-04 season.

Here’s beginning and end you need to think about the North Division’s basic Game 7, including what channel the game is on, what time it starts and considerably more as the first round of the 2021 Stanley Cup end of the season games find some conclusion.

What channel is Maple Leafs vs. Canadiens on?
  • TV channel (U.S): CNBC
  • TV channel (Canada): CBC, Sportsnet, TVA Sports
  • Live stream: NBCSports.com | fuboTV

With Game 2 of the Bruins vs. Islanders second-round series set to be broadcast on NBCSN starting at 7:30 p.m. ET, the Maple Leafs and Canadiens game will be broadcast on CNBC in the United States. Viewers in Canada can watch Game 7 live on CBC and Sportsnet.

Additionally, fuboTV, which offers a 7-day free trial, will be carrying the Maple Leafs vs. Canadiens game.

Maple Leafs vs. Canadiens start time
  • Date: Monday, May 31
  • Time: 7 p.m. ET | 4 p.m. PT

The 7 p.m. ET puck drop will be the first of the two NHL games that are taking place on Monday, May 31. The Bruins and Islanders game starts just half an hour later at 7:30 p.m. ET.

Why did Naomi Osaka withdraw from French Open? Tennis star explains sudden decision to step away

The 23-year-old tennis star and four-time Grand Slam champion confirmed that she would withdraw from the tournament at Roland Garros ahead of her second-round matchup against Ana Bogdan. Naomi Osaka’s 2021 French Open has come to an end.

In a Twitter post, Osaka nitty gritty her choice to take such an action in the wake of declining to converse with the media and uncovered that she has “endured long episodes of sadness” since the 2018 U.S. Open.

A couple parts of Osaka’s statement stand out above all. The first is when she explained her own mental health issues and why speaking to the media brings on “huge waves of anxiety.”

Truly I have endured long episodes of sadness since the US Open in 2018 and I have had a truly difficult time adapting to that. Anybody that realizes me realizes I’m independent, and anybody that has seen me at the competitions will see that I’m regularly wearing earphones as that dulls my social uneasiness. Despite the fact that the tennis press has consistently been sorts to me (and I wanna apologize particularly to every one of the cool writers who I may have harmed), I am not a characteristic public speaker and get immense floods of tension before I address the world’s media. I get truly apprehensive and think that its unpleasant to consistently attempt to draw in and offer you the best responses I can.

Osaka also outlined exactly why she instigated what effectively amounted to her media blackout. She was attempting to “exercise self-care” and shed light on rules that she believes are “quite outdated in parts.”

So here in Paris I was at that point feeling helpless and restless, so I thought it was smarter to practice self-care and skirt the public interviews. I reported it preemptively in light of the fact that I do feel like the guidelines are very obsolete in parts and I needed to feature that. I composed secretly to the competition saying ‘sorry’ and saying that I would gladly talk with them after the competition as the Slams are extraordinary. I’m going to remove some time from the court now, yet when everything looks good I truly need to work with the Tour to examine ways we can improve things for the players, press and fans.

Obviously, Osaka and the Tour had been at chances about her media power outage. The four Grand Slam competitions delivered a joint articulation and fined her $15,000 for skipping media commitments after Round 1 of the French Open and compromised a default in the event that she kept on doing as such.

Osaka mourned that her “message might have been more clear” in her assertion, so doubtlessly the different sides have a ton to discuss pushing ahead if Osaka needs a portion of the “obsolete” media rules to change.

Yet, until further notice, the No. 2 part on the planet will pass on the greatest earth court occasion of the year. Prior to pulling out, Osaka beat Patricia Maria Tig in two sets, (6-4, 7-6).

Evander Kane zings rival Ryan Reaves over dirty play in Golden Knights vs. Avalanche series

Brilliant Knights winger Ryan Reaves isn’t known for being substantially more than a major hitter. Also, Sharks forward Evander Kane is helping him to remember that after his most recent on-ice episode.

Reaves was managed a match punishment for his forceful takedown of Ryan Graves after the whistle in Game 1 of the Golden Knights versus Torrential slide arrangement. The play will be checked on by the NHL, as all match punishments are, and Reaves is likely confronting a suspension.

Kane took to Twitter to discuss what Reaves’ penalty should be for his actions.

His suggestion? More ice time for the big-bodied forward.

That virtual blindside from Kane was a really solid one.

Reaves found the middle value of just 9:56 of ice time per game and has only five all out focuses (one objective, four helps) on the year. Subsequent to preparing nine objectives in 2018-19 and eight objectives in 2019-20, Reaves’ scoring contact has evaporated, so he’s needed to depend solely on his enormous hitting capacity (4.1 hits per game the last three seasons) to give on-ice worth to the Golden Knights.

However, obviously, Kane’s remarks demonstrate that he doesn’t think Reaves offers a lot of benefit in any case.

Reaves has recently been suspended by the NHL, so he figures to be hit with a more drawn out suspension for his hit this time since he’s a habitual perpetrator. What’s more, Colorado wasn’t amazed that he followed one of their players at this beginning phase in the arrangement with the Golden Knights losing large.

“Reaves, he’s determined to go out there and hurt somebody in the third,” Avalanche chief Gabriel Landeskog said. “That is the thing that he does.”

However, on the off chance that the NHL drops the hammer on him, Reaves may not do that any more during the 2021 Stanley Cup end of the season games.

Anthony Davis injury update: Lakers star unlikely to play in Game 5

Lakers whiz Anthony Davis left his group’s Game 4 misfortune to the Suns on Sunday, and is relied upon to miss Game 5.

Following his physical issue in the game, ESPN’s Adrian Wojnarowski announced Davis is viewed as everyday in the wake of enduring a left crotch strain. On Monday morning, The Athletic’s Shams Charania detailed Davis is “improbable” to play in Game 5.

The Lakers take the court again 10 p.m. ET Tuesday for Game 5 of the first-round season finisher arrangement in Phoenix. Los Angeles tumbled to the Suns 100-92 on Sunday to even the arrangement at two successes each. Game 6 is booked for Thursday. Game 7, should it be required, is plan for Saturday.

Davis left Game 4 in the second quarter subsequent to driving for a layup. He appeared to land clumsily on the court, and promptly went down getting a handle on his upper thigh/crotch region. He avoided the game and didn’t get back with regards to halftime, with Kyle Kuzma entering substitution.

Davis was considered sketchy for Game 4 with a knee sprain, however he said before the game there was “no way” he would pass up a major opportunity the matchup.

Davis has experienced wounds for most of the 2020-21 season, a contributing element (alongside LeBron James’ own wounds) to LA acquiring the seventh seed in the Western Conference.

Review: Family and robots in ‘Mitchells vs the Machines’

Easily the most heartfelt movie about family life that also includes a robot apocalypse and a pug often mistaken for a loaf of bread, “The Mitchells vs. the Machines” is an antic, irreverent animated delight that somehow doesn’t sacrifice depth even as it hurtles forward at breakneck comic speed.

Director Mike Rianda’s film, produced by Phil Lord and Chris Miller, shares much of the DNA of Lord and Miller’s other cartoon adventures (“The Lego Movie,” “Spider-Man: Into the Spider-Verse”) in its ability to remake movie cliches with madcap irreverence, youthful zeal and a contemporariness that often eludes less freewheeling films.

“The Mitchells vs. the Machines,” which debuts Friday on Netflix (after originally being set for theatrical release from Sony Pictures), manages to spin through a sincere father-daughter relationship, our technology addictions, Instagram jealousy and general feelings of inadequacy while breezing though an end-of-the-world plot accidentally initiated by a reckless tech CEO. Oh, there are maniacal Furbys, too.

But for all its fast-paced zaniness, “The Mitchells vs. the Machines,” scripted by Rianda and his writing partner Jeff Rowe (also co-director), is basically a good old-fashioned family road trip movie, and the Mitchells slide in somewhere between the Griswolds and a more accident-prone Incredibles. They’re neither a hopeless clan nor a perfect one (usually the only two options in family movies), but a flawed, loving family.

Rick Mitchell (Danny McBride) is a devoted but distracted dad who, when faced with more complicated emotional issues, happily retreats to home improvement and woodworking. He and wife Linda (Maya Rudolph) have a daughter heading to college, Katie (Abbi Jacobson), a younger dinosaur-crazed boy named Aaron (Michael Rianda) and a dog named Monchi — a four-legged running gag. They all have their own interests but share a common smart-phone addiction. So when Rick suggests a dinner with “10 seconds of unobstructed family eye contact,” it’s excruciating torture for everyone.

When Katie is about to leave for college, her relationship with her father has reached a low point. Katie, an insanely creative budding filmmaker, can’t ever get him to pay attention to her creations. In a last-ditch stab at bringing them closer, Rick cancels her flight and the family drives across the country instead. Part of what’s great about “The Mitchells vs. the Machines” is that, even though it’s a big-budget computer-generated animation, it pulses with a hand-drawn, DIY spirit. Along the way, Katie is filming and her work frequently bleeds into the movie, itself, redecorating the frame and sometimes taking it over. “The Mitchells vs. the Machines” is simultaneously an ode to the creative possibilities at our finger tips and a warning to the greater dangers of digital dependence.

The latter is especially true once a newly launched phone turns diabolical overlord and scoops up the world’s population with little more than promises of free Wi-Fi. The Mitchells, by luck and pluck, are the only ones to go undetected, a success owed less to their intelligence than their imperfections. The engulfing dystopia makes for a dramatic and metaphorical backdrop for the Mitchells to work through their issues. What, after all, is more apocalyptic for a father than a daughter leaving home for college?

Rianda’s film drags some in the big finale as the Mitchells go to battle in Silicon Valley. The mom, and Rudolph, are a little wasted. But the father-daughter relationship is primary here, and it’s really wonderfully done. I think what “The Mitchells vs. the Machines” does so well is show how things evolve between parents and children with time. It’s a bond that’s permanent in so many ways but a relationship forever fluctuating with the pushes and pulls of growing up. The filmmakers are always cutting to old home movies and other memories of Rick and Katie in various stages through the years. In “The Mitchells vs. the Machines,” family life is a brilliant, ever-changing collage.

“The Mitchells vs. the Machines,” a Netflix release, is rated PG by the Motion Picture Association of America for action and some language. Running time: 114 minutes. Three stars out of four.

Review: Krasinski offers fresh thrills in ‘A Quiet Place 2’

John Krasinski catches you off guard in the first moment of “ A Quiet Place Part II,” inviting you into his film with the most terrifying thing of all in this universe: Noise. It’s a testament to the effectiveness of “A Quiet Place” that any sound is guaranteed to make you immediately uneasy: The crinkle of a bag, the crunch of an apple, a car door closing. Krasinski begins the sequel, which he wrote and directed, in a flashback to the day the monsters arrived, and boy, are we LOUD.

It’s a bit of a gut punch, and not just because he doesn’t waste any time before getting to action. We know he and others won’t be around when the film cuts to the present. And you might be surprised how far just a little glimpse of their pre-disaster happiness goes when it comes to reminding you what they’ve lost and what they’re trying to hang on to.

And this one picks up right where we left off. Emily Blunt’s character, Evelyn, has not had time to go full Sarah Connor in “A Quiet Place Part II.” Like John Wick, the Abbotts don’t get a breather. And she and her family — a newborn, her son Marcus (Noah Jupe) and daughter Regan (Millicent Simmonds) — are on the move to find somewhere else to stay. They’ve rigged up a terrifying coffin-like box for the infant with an oxygen tank and a baby breathing apparatus so that they can move without worrying about the baby’s cries. Clearly it’s been mostly thought out by people who are actually parents themselves, but it’s better if you don’t ask too many questions about the logistics of all of this.

Suffice it to say, the introduction of the baby ensures that your stomach will never not be in knots throughout the lean duration of the film. Krasinski makes one choice with the baby that borders on indecent, but it’s terribly effective.

It is somewhat astonishing that they were able to find enough new in this world to justify a full sequel, but unfortunately for everyone Regan’s inspired hack to stun the monsters using high frequency sounds is only effective in the immediate surroundings. In other words, there are a lot more out there.

The family does find another place and a once-friendly face, in Cillian Murphy’s Emmett. But like so many of Murphy’s characters, it’s unclear whether or not he can be trusted and he doesn’t seem like he wants to help.

Blunt, Simmonds and Jupe are all once again terrific in their roles, using sign language and their expressive, empathetic faces to brilliantly convey terror, love and pain. The nail also reprises its role and is just as effective at creating tension as before, but Krasinski unfortunately has something more brutal in store for one of the Abbotts.

But the reason these films work is not because of the scares. They work because, at their heart, they are a high concept meditation on parenting. Sure, the surprises keep your heart rate up and all that but the true terror, the one that buries itself in your consciousness, comes from that deep, intractable fear of not being able to protect your kids. Many monster movies boldly claim to be about something bigger and rarely are. These films succeed at that.

After being delayed more than a year, “A Quiet Place Part II” is debuting only in theaters for the first 45 days, until it’s made available on Paramount+, and it might sound cliché, but it’s hard to imagine seeing it anywhere but on the big screen. It’s the kind of movie that demands it.

“A Quiet Place Part II,” a Paramount Pictures release in theaters May 28, is rated PG-13 by the Motion Picture Association of America for “terror, violence and bloody/disturbing images.” Running time: 97 minutes. Three stars out of four.


MPAA Definition of PG-13: Parents strongly cautioned. Some material may be inappropriate for children under 13.

Review: Eric Bana riveting in Aussie crime drama ‘The Dry’

A headline and a letter draw a big city federal agent, Aaron Falk (Eric Bana), back to his hometown of Kiewarra after 20 years away in the compelling Australian crime drama “ The Dry.” His childhood friend Luke (Martin Dingle Wall) is presumed to have murdered his wife and young son before killing himself. Only the infant was spared. A note from Luke’s father, Gerry (Bruce Spence) implores Aaron to come to the funeral, alluding to a lie he knows they told.

Luke’s parents want Aaron to look into it: The mother doesn’t believe that he could have done it; The father worries that he did. And Aaron is reluctant to stay. Twenty years ago, when he was just a teenager, he left the town after one of his and Luke’s friends turned up dead in the lake. Their alibi was suspicious enough to raise doubt and everyone just started assuming that one of them did it.

That lake where she was found and where they used to hang out is dried up now, as are all of the streams and bodies of water in Kiewarra. After a year-long draught, it looks like a desert. The besieged country farming community is well on its way to becoming a ghost town, and there’s the ever-looming threat of a single spark causing a brush fire that will burn everything down. Just because it’s not the most subtle metaphor doesn’t make it any less of a truth that the townspeople also harbor secrets that could destroy them. It’s no wonder that the film is based on a book, written by Jane Harper and published in 2016. Robert Connolly directed and is credited for the adaptation with Harry Cripps.

Aaron is greeted with hostility from some of the longtime residents of Kiewarra. Ellie’s (BeBe Bettencourt) death 20 years age is still an open wound, especially for her father (William Zappa) and brother (Matt Nable). But he soldiers on, working with the very green local cop Greg (Keir O’Donnell) on the investigation. The screenplay does an excellent job of teasing out new leads, many of which are red herrings, while also endearing us to those in this odd little town, like Gretchen (Genevieve O’Reilly), who rounded out the teenage foursome with Aaron, Luke and Ellie. Gretchen, a single mom and schoolteacher now, has her own theories of what happened then. Gerry worries that the presumed murder-suicide could have been prevented had Luke been held accountable for what happened 20 years ago.

“The Dry” also often cuts back to the days surrounding Ellie’s death, adding tension to the present-day investigation as we wonder whether Luke or Aaron did in fact kill the girl, or play any part in her death. Aaron is a somewhat shy teen and Luke is the volatile alpha, which on paper seems like a simple case but on film, you still harbor doubts.

Bana is excellent as the reluctant outsider —determined, haunted and empathetic — and he’s surrounded by ace character actors. There is some much-needed moments of humor, too, especially with the local bar and hotel owner, and even a little romance teased out. It’s not just a grim murder case and is stronger and more human for it.

Anyone hooked on “Mare of Easttown” and looking for a holdover in between episodes would be well-served by the intrigue of “The Dry.” It’s actually a bit of a wonder that it wasn’t stretched out into a television series itself, but Connolly has a command on the pacing and “The Dry” never feels rushed or undercooked. This is an import that’s worth seeking out.

“The Dry,” an IFC Films release in theaters and on demand, is rated R by the Motion Picture Association of America for “for violence, and language throughout.” Running time: 117 minutes. Three stars out of four.

MPAA Definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.

Review: A battle of 2 Emmas — with killer fashion as weapon

The Met Gala should be so lucky.

In a spectacular (though sadly fictional) red carpet moment that easily rivals Lady Gaga’s 2019 Met Gala striptease , a sanitation truck arrives, ready to offload its trash. But then Emma Stone as Cruella de Vil somehow emerges from the detritus, gathering a 40-foot-train around her and looking like a demented Cinderella arriving at the ball — if her fairy godmother were a hybrid of Vivienne Westwood and Alexander McQueen.

Her nemesis, Emma Thompson as the icy Baroness von Wintour, we mean von Hellman, glares. And there we have the three main elements that make Disney’s “Cruella” a guilty pleasure, at least for the eyes: Emma S, Emma T, and fashion. Killer fashion.

Let’s get out of the way what’s sure to be the major complaint about this film, an origin story for the dog-hunting Disney villainess introduced in the 1961 animated classic “One Hundred and One Dalmatians”: It’s long. No really. It’s loooong. At 134 minutes, it definitely could benefit from a pair of shears.

But, rather like that 40-foot-train garbage dress — kudos to costume designer Jenny Beavan, the film’s true heroine — why cut when you have Emma Stone in you, giving her all? That was probably the thinking from director Craig Gillespie. It does make some sense. Stone is always compelling, and with an ace nemesis in Thompson, she’s having a blast.

Plus, with all those clothes, and a story set in the colorful punk revolution of 1970s London (with soundtrack to match), you need more movie. Thompson wears more than 30 looks, each more “haute” (read haughty) than the next, and Stone around 50. Still, when a movie brazenly celebrates style over substance, part of style is arguably knowing when to stop.

Let’s also get the obvious puns out of the way: “The De Vil Wears Prada.” “The Devil Wears Disney.” Etc. Yes, there’s more than a passing reference to that very durable 2006 film, which also pitted an aspiring young woman (Anne Hathaway) against a powerful fashion-world ice queen (Meryl Streep) modeled on Wintour. Then again, Hathaway’s Andy had nothing against puppies, as far as we know.

So back to Cruella. You’ll remember she was brought to life (and live action) by Glenn Close in the 1996 and 2000 movies. This film begins at birth. How did she become the frightening figure who would scheme to kill puppies to make a coat? “If she doesn’t scare you, no evil thing will,” went the song in 1961.

The screenplay does not entirely succeed in answering this question. The conundrum: Central to Stone’s appeal is that we love her, always. Whatever trouble she gets in, we want her to succeed. And so, like her trusty band of friends here — Jasper and Horace and Anita Darling — we remain on her side throughout. But really, is there a way one can love someone who will grow up to plot to skin puppies? Best to gloss over that, which the film sorta does.

We learn that Estella — her birth name — struggled as a child to tame her nasty side. Her sweet mother teasingly reminds her: “Your name is Estella, not CRUEL-la.”

At her small-town school, the young girl with a natural two-toned shock of black and white hair (an appealing Tipper Seifert-Cleveland) and passion for fashion gets into trouble, and Mum decides to move them to London. But tragedy strikes, and soon Estella is an orphan.

Luckily, she meets up with a pair of petty thieves, Horace and Jasper, who take pity and allow her to join the trade. “You don’t got too many options,” they advise her.

Ten years go by. Estella (now Stone), an expert thief, gets her big break: a job cleaning floors at Liberty in London (arranged by Jasper and Horace, now played by Joel Fry and and an amusing Paul Walter Hauser; Kirby Howell-Baptiste has too few scenes as Anita.) Hey, it’s an honest wage. One night, drunk and frustrated, she redesigns a store window display. The baroness (Thompson), the world’s top designer, sees the rebellious window and immediately hires Estella.

As an employer, the baroness is cruel and capricious (not a comfortable source of comedy these days, but whatever). Still, she recognizes Estella’s talent. Meanwhile, Estella discovers something disturbing about the baroness that connects to her own past. And thus the vicious showdown begins. It’s her or me, the baroness says: “I choose me.”

And the weapon is fashion. And so, second only to that garbage-truck dress, we have another fabulous red-carpet moment with Stone in a voluminous red skirt (Beavan says she used more than 5,000 petals of fabric to keep it light), a bejeweled military jacket and Doc Martens, stomping on top of the baroness’s car, swooshing her skirt around and literally swallowing the vehicle.

The Met Gala is returning this fall, folks. The red carpet awaits. Lady Gaga, are you listening?

“Cruella,” a Walt Disney Studios Motion Pictures release, has been rated PG-13 by the Motion Picture Association of America for “some violence and thematic elements. “ Running time: 134 minutes. Two and a half stars out of four.


MPAA definition of PG-13: Parents strongly cautioned. Some material may be inappropriate for children under 13.

UK PM Boris Johnson marries fiancee in private ceremony

British Prime Minister Boris Johnson has married his fiancée, Carrie Symonds, in a small private ceremony that came at the end of a tumultuous week during which a former top aide said he was unfit for office.

The couple wed Saturday at the Roman Catholic Westminster Cathedral in front of a small group of friends and family, Johnson’s office said Sunday, confirming newspaper reports that were published overnight. Photos taken after the ceremony in the garden of the prime minister’s residence showed Symonds in a long white dress and floral headband. Johnson wore a dark suit.

“The Prime Minister and Ms. Symonds were married yesterday afternoon in a small ceremony at Westminster Cathedral,″ Downing Street said. “The couple will celebrate their wedding with family and friends next summer.”

The couple have reportedly sent save-the-date cards to family and friends for a celebration on July 30, 2022. Under current coronavirus restrictions in England, no more than 30 people can attend a wedding.

Johnson, 56, and Symonds, a 33-year-old Conservative Party insider and environmental advocate, announced their engagement in February 2020. Their son, Wilfred, was born in April last year.

The marriage is Johnson’s third. He has at least five other children from previous relationships.

Johnson’s previous marriages would not have stopped him from having a Catholic wedding because they didn’t take place in the Catholic church, Matt Chinery, an ecclesiastical and canon lawyer, told Times Radio.

“In the eyes of the Catholic church, Boris Johnson woke up last week as somebody who wasn’t married and had never been married and so was free to marry in the cathedral this weekend,” he said.

Johnson was baptized as a Catholic but he was confirmed as a member of the Church of England as a teenager.

The last British prime minister to marry in office was Lord Liverpool in 1822.

The wedding followed a difficult political week for Johnson.

His former top aide, Dominic Cummings, on Wednesday told lawmakers that Johnson had bungled the government’s response to the coronavirus pandemic and said he was “unfit for the job.”

Britain has Europe’s highest coronavirus death toll, at over 128,000 people, but it has also produced one of the world’s most successful vaccination programs, inoculating 74% of its adults. Daily deaths have plummeted to single digits of late, compared to over 1,800 one day in January.

On Friday, a government ethics adviser released his long-awaited findings on the “cash for curtains” scandal in which Johnson was criticized for failing to disclose that a wealthy Conservative Party donor had paid for the redecoration of the prime minister’s official residence in London. Although Johnson later settled the bill, the inquiry found that Johnson had acted “unwisely” in carrying out the work without knowing where the money had come from. He was cleared of misconduct.

The opposition Labour Party was not giving Johnson any space for a honeymoon, with one Labour lawmaker, Jon Trickett, suggesting that the weekend wedding was “a good way to bury this week’s bad news.”

Writer Michael Lewis’ 19-year-old daughter dies in crash

The 19-year-old daughter of “Moneyball” writer Michael Lewis and former MTV correspondent Tabitha Soren died in a Northern California highway crash.

Dixie Lewis was a passenger in a car driven by her friend and former Berkeley High School classmate, Ross Schultz, 20, who also died in the Tuesday afternoon accident, according to her family and authorities.

“We loved her so much and are in a kind of pain none of us has experienced,” Michael Lewis said in a statement to Berkeleyside, a community news site that first reported the deaths. “She loved Ross, with whom she died. She loved to live and our hearts are so broken they can’t find the words to describe the feeling.”

Her family, including siblings Walker and Quinn, will “find ways for her memory to live in her absence,” Michael Lewis said. A statement from Schultz’s family said they would hold his memory “dear and present and find ways to remember him, and Dixie, forever.”

Schultz and Lewis were heading north on State Route 89 from Lake Tahoe toward the city of Truckee when their sedan crossed into oncoming traffic and collided with a southbound truck, California Highway Patrol Officer Jacob Williams told Berkeleyside.

Why the car veered across a double-yellow line was unclear and witnesses to the crash were being sought, Williams said. The truck driver suffered minor injuries, according to the website that identified him as a 45-year-old Nevada man.

Calls to the CHP seeking further information on the accident were not immediately returned Saturday.

Dixie Lewis graduated from high school last year and had completed her first year at Pomona College, where she played on the softball team, according to Berkeleyside. Schultz, part of the high school’s championship soccer team, had finished his second year at California State Polytechnic University, Pomona.

Several of Michael Lewis’ nonfiction books have been adapted for movies, including “Moneyball” starring Brad Pitt and “The Blind Side” with Sandra Bullock. His newly published book is “The Premonition: A Pandemic Story.”

Lewis and Soren, who was a political reporter for MTV and is a photographer, married in 1997.