Editor’s Notes: In this episode of This Past Weekend, host Theo Von sits down with Hollywood superstar Chris Hemsworth for a candid and wide-ranging conversation. The two explore Hemsworth’s latest project, the gritty Los Angeles heist film Crime 101, while also diving into the adventurous and often “risky” nature of Australian culture. Hemsworth reflects on his nostalgia for life before global stardom and shares behind-the-scenes stories from his career, including his experiences working with legends like Halle Berry. From discussing his evolving personal purpose to humorous tales of picking up hitchhikers, this interview offers a unique and engaging glimpse into the life of the man behind the iconic roles. (Feb 17, 2026)
TRANSCRIPT:
Introduction
THEO VON: Just a reminder that you can watch video versions of our episodes now on Spotify as well. Today’s guest is an actor. He’s a producer. He’s a life explorer, if you will. He has a new film out that’s called Crime 101. It’s in theaters right now. You can go check it out. I had a good time getting to know this Australian gentleman. Today’s guest is Mr. Chris Hemsworth. Australians, I think they just, I feel like they’re more risque with their lives kind of.
CHRIS HEMSWORTH: Yeah, there is a lack of, well, it’s a risk averse due to either the lack of fear or the extra amount of stupidity at times. Fluctuates.
THEO VON: It’s a beautiful bravery though, that they have.
CHRIS HEMSWORTH: Yeah.
THEO VON: And even when you travel, one thing I remember from just traveling a lot was just seeing Australians everywhere. They pop up in anything. Like, you turn on a tap in another country, you’re pouring a beer and a couple of Australians just come out on surfboards, kind of a boogie board.
CHRIS HEMSWORTH: As an Australian, that’s always problematic. It’s like you go to the country to get away from Australia and have a different cultural experience and it’s, “Oh, g’day, mate. Yeah, I know you.” And the next minute you’re at the bar together doing what you did back home.
THEO VON: Yeah, I could totally see that, man. What does that nature come from in Australians? Because I mean, it’s a serious thing that I think everyone would say, that you go anywhere and there’s Australians there.
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The Australian Spirit of Adventure
CHRIS HEMSWORTH: I think we’re quite isolated where we are. For such a young country, as far as the white settlement being there in the last sort of 200 or so years, there’s been always a sense of adventure, either across the country itself or just the need to get out and explore. Because it’s not like, if you’re in Europe, you’re jumping from France to Italy to London and you can have different cultural experiences within a two-hour train ride. For us, it’s a big adventure. You know, pack a backpack and you’re on several flights and buses and trains and boats and whatever. So there is an adventurous spirit. All the guys I grew up with, it was like, finish high school and go backpacking around the world.
THEO VON: So that’s like a big thing where people, when they finish high school, it’s like, “I’m going to get out of here. I’m going to go experience something.” Is it almost taboo if you don’t, if you don’t have like a…
CHRIS HEMSWORTH: No, I think it just comes from not having figured out what you want to do next. I’d probably say 50/50 with my group of friends. Some knew what they were doing — a couple of them went into a trade and a couple of them went to university. And then a couple of them were like, “I’ve got no idea. Maybe I’ll find it in Peru or wherever I’m going to go backpacking, and cross paths with folks that might inspire something else in me.”
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Growing Up in Australia
THEO VON: Did you do something like that? I know you grew up partially in the outback and partially in Melbourne, right?
CHRIS HEMSWORTH: Yeah, grew up in Melbourne, then lived in the Northern Territory in an Aboriginal community about four hours southeast of Katherine, like in the middle of nowhere. And that was my earliest, most vivid memories.
THEO VON: Out there in the bush kind of.
CHRIS HEMSWORTH: Yeah. There were Aboriginal communities, a bunch of them in the region we lived in, all across the Northern Territory. But where we were, the proximity — there were sort of three or four communities that my dad worked with. He ran a cattle station and then ran a community center. I went up there when I was five or six, then came back to Melbourne, and then again when I was like seven, eight, nine, so a couple of different times.
But as far as the backpacking thing, I started working when I was 18. I ended up on a soap opera, and that kind of took me straight into what I’m doing now. I kind of missed that. I do look back, especially speaking to a lot of friends of mine that had this sort of crazy adventure prior to being famous and prior to being recognized, where you could just kind of get into a bunch of trouble and explore the world and make all those mistakes and hopefully learn something from them.
I feel like that period — there’s a romanticism, a nostalgia that I long for, that I wish I had done prior to jumping into the working world.
THEO VON: Yeah, it’s one thing. It’s a downside of celebrity and popularity, that there are things you can’t just go do. Sometimes I’ll romanticize it as well, like, “Oh, I’d like to go there, go there.” But then I’m like, it would be more uncomfortable now, or it would be some type of way.
CHRIS HEMSWORTH: Did you do it after school? Did you ever get a chance to travel?
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Theo’s European Backpacking Misadventure
THEO VON: Yeah, yeah. I had a girlfriend. We went over there, and that was like a seven-country fight we went on.
CHRIS HEMSWORTH: What was the drama? What was it coming from?
THEO VON: I think you don’t know how you are when it’s stressful out there. When you’re on trains and you’re moving your bags all the time, we booked too many places to go see. We should have done four days in each spot. We tried to do like two days, nine spots instead of four spots, five days. So you’re just constantly on the go.
I would be sneaking off and just drinking wine by myself. And then one night I went off to the grocery by myself and somebody had, like, a hit of LSD or something. It was like a pretty nouveau grocery, I guess, because it wasn’t on the shelves, but it was available in the parking lot, which I consider an extension of the grocery store. I thought it would boost my spirits, and then it was just a long, horrible night. And at that time we were in like a camping sort of environment where there were outhouses and stuff.
CHRIS HEMSWORTH: So we’re in what country?
THEO VON: That was outside of Venice.
CHRIS HEMSWORTH: Yeah, yeah.
THEO VON: But it was great. It was just a lot, too much in too little time.
CHRIS HEMSWORTH: Yeah, yeah.
THEO VON: But yeah, doing something like that now would just feel tougher. And I’m sure, yeah, it’s like you’re Chris Hemsworth now. That name is bigger than you.
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The Price of Fame
CHRIS HEMSWORTH: It’s interesting, because I’m at a point in my life — I don’t know if you find this — but every few years you’re kind of, you know, what was the goal at one point quickly becomes the norm, and then you’re onto something else. And then it’s the sort of reassessment of what my purpose is, around all the “why” as to doing this thing. I’m chasing it for one reason, then it’s for something else. And I’m at that sort of point where I’d love to step away on one hand and do a little soul searching, dig a little deeper, get a little more solitude and time to yourself. But then, what would that look like?
THEO VON: It’s like the idea that’s romantic. That feels like…
CHRIS HEMSWORTH: Yeah.
THEO VON: It’s not quite in the reality. It’s hard to say, “Well, would I be okay in that footing?”
CHRIS HEMSWORTH: Yeah, like, I’m not going backpacking at 42. Not that — I’ve got three kids, so that’s not really my kind of…
THEO VON: Yeah, your backpack will be full.
CHRIS HEMSWORTH: Full of all three of them. But more just, how do you see the world when you are famous and recognized versus when you’re not? People interact differently to you, for good and bad. Also, the opportunities that present themselves and the places you can inhabit become a little limited in that sense. But it’s what it is.
THEO VON: Yeah. The world’s your oyster, but it’s like…
CHRIS HEMSWORTH: You have this opportunity, but there’s a restriction. There is such a restriction to how much you can really involve yourself in it. It becomes very observational. You go on a press tour and you go to like 10 different countries and it’s like, “God, that must be amazing.” And it’s like, yeah, from the hotel room, you’re looking out. And if there are posters of your face around the streets everywhere, then it’s even more difficult. But you can navigate your way around it at times.
THEO VON: Right. And we’re not complaining, but it’s an interesting look. It’s a good thought. You can only — it becomes very observational.
CHRIS HEMSWORTH: Which, hey, is not a negative either at times. It’s sort of just what it is.
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Life’s Challenges Don’t Disappear With Fame
THEO VON: Yeah. I think of popularity and stuff like that — it’s just interesting to be part of an experiment. Like, okay, this is what it’s like. That’s kind of how I look at it now. There are good parts, there are bad parts. I don’t think of it as me really, as much as, okay, I’m in this setting and this is the experience.
CHRIS HEMSWORTH: Yeah. And it’s also the sort of polarity of things. Every time you solve one problem, life has a way of presenting another challenge. And not even a problem — it’s like, in order to be able to evolve and grow, there’s adversity that gets shifted your way. And I think that’s the sort of misconception, I suppose — assuming that this, that, and the other will make you void of those problems.
THEO VON: It’ll solve it all.
CHRIS HEMSWORTH: And so what comes with huge benefit in being a recognizable personality, fame and all that, is incredible. And it comes with its own things, as does any industry. I remember talking to my mum about this years ago. She was a high school teacher and I was like, “Man, it’s really tricky at work, you know, the cast and the producer and does the film work?” And she said, “Yes, I could kind of line those things up parallel to my experience. The students might be my audience, the principal is the producer,” and so on.
And it’s like, that’s life, that’s the experience. I think I’ve gotten much better at not egoically thinking that my experience is somehow separate, different, or unique. Whatever industry, whatever demographic, wherever you’re born, life has a way of throwing you the same sort of options — to appreciate things in their truest form rather than goal seeking or accumulating or whatever.
THEO VON: Yeah, the game doesn’t really change. It’s like, okay, now there are new things, and that’s just life. I don’t think popularity or celebrity is an escape from that.
CHRIS HEMSWORTH: No. And I think if you’re truthful about things…
THEO VON: If you’re realistic.
Behind the Curtain: Fame, Identity, and the Midlife Search for Meaning
CHRIS HEMSWORTH: Yeah, for sure. And there’s certainly a sort of — we’ve seen countless times again and again — the motivation behind pursuing something, if it is for the assumption of it solving all the problems, you get ready for a rude awakening. It’s like, “Oh, that didn’t answer all the questions I had.” Or it did momentarily, and then there’s a new set the next morning. And so kind of surrendering to that has been, I think, the gift in any form of fame or celebrity or whatever — that you get to kind of see behind the curtain, and you get to have that realization that from afar, most people are always going to be living with the assumption that it might.
THEO VON: Bring you way better behind the curtain. Yeah, you get behind the curtain, you’re like —
CHRIS HEMSWORTH: I’m on the other side again. I’m back in line.
THEO VON: Yeah. You open the curtain, you realize it’s just a mirror.
CHRIS HEMSWORTH: Yeah, exactly that.
—
THEO VON: God dang, dude. You’re freaking looks-maxing or whatever they call it. It’s got to be crazy just being so handsome sometimes, dude. I bet your mirror, whenever it sees you, it’s like, “Oh, yeah.” I bet your mirror makes a positive sound.
CHRIS HEMSWORTH: Does anyone feel that way at all?
THEO VON: No, no, no.
CHRIS HEMSWORTH: Just the two of us in a room alone — it’s fine. Whatever, dude.
THEO VON: You know what I’m saying?
CHRIS HEMSWORTH: I appreciate it.
THEO VON: You’re a handsome fella, too.
THEO VON: I don’t know, dude. I’m side-of-the-road handsome. Like, if people are going by at like 50 miles an hour, they’re like, “Hey, I think that guy was okay looking.”
CHRIS HEMSWORTH: I’m sitting right next to you, and I’m admiring what I see, mate.
THEO VON: Hitchhiker handsome. Yeah.
CHRIS HEMSWORTH: If you were hitchhiking, bro —
THEO VON: Well, you would.
CHRIS HEMSWORTH: Absolutely.
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Hitchhiking Stories and the Thrill of the Unknown
THEO VON: You can’t even hitchhike in America anymore because either the people picking up hitchhikers were killing the hitchhikers, or the hitchhikers were killing the people. That became a real thing.
CHRIS HEMSWORTH: You see Wolf Creek some years ago? Yeah, I think that kind of ended hitchhiking in Australia for a good decade or two.
THEO VON: Dude. Do motion pictures realize that just one film about something ruins the ability to get somewhere across a continent?
CHRIS HEMSWORTH: That ruined hitchhiking, and Jaws ruined the whole ocean experience.
I had a hitchhiking story. I was in Vancouver once, shooting a movie there like 15 years ago, driving back from Whistler. It was like seven or eight o’clock at night, and I picked up a hitchhiker — thought I was doing a good thing. And it started to get real creepy. He started asking me, “What are you doing? Where are you from? What are you up to?” Getting a little too personal — “Where are you staying?” and whatever.
So I immediately started, you know, filling in — “Yeah, I do heaps of martial arts, a lot of jiu-jitsu, big background in boxing” — telling fight stories, seeing if that was going to sway things. And thankfully nothing happened. But it was that moment where you’re sizing each other up going, “I don’t know anything about you and you don’t know anything about me.”
THEO VON: How does this go? Yeah, like, how does this story end? You start thinking, “How does this story end, and what role am I going to play in it?”
CHRIS HEMSWORTH: Yeah, see how you use a knife or gun or whatever.
THEO VON: But that is one thing that is nice about picking up hitchhikers. I’ve picked up a fair share over the years, and it’s really like, “Okay, let’s see what God wants for me today.”
CHRIS HEMSWORTH: Yeah, sure. You know Mark Ruffalo? He was at a music festival in Australia — just such a lovely human being — and he picked up a couple of hitchhikers. The next day I spoke to him and he goes, “I got back at like 7am.” And I was like, “You left at like 2.” And he’s like, “Yeah, but I picked up these young kids — like 18, 19-year-old kids — and they were going in that direction. I didn’t have the heart to tell them I was going the other direction. So I ended up going on this like four-hour detour.”
THEO VON: But that’s big-hearted.
CHRIS HEMSWORTH: That’s it. That’s a Ruffalo. Yeah.
THEO VON: I mean, that’s also insane — driving with kids that far seems —
CHRIS HEMSWORTH: 18, 19-year-olds from a festival. We say kids, but they’re sort of —
THEO VON: Okay, yeah. Schoolies, they call them.
CHRIS HEMSWORTH: Yeah, they are schoolies. And then the toolies are the older ones hanging around — the older-age creeps that are hanging around.
THEO VON: Oh, they call them toolies. Oh, that’s good.
CHRIS HEMSWORTH: Yeah.
THEO VON: Oh, yeah — because they should have a trade by that point.
CHRIS HEMSWORTH: They should have a job and not be hanging around 18-year-olds.
THEO VON: Yeah. Pick up a hammer, do something.
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Coming Up for Air: Reassessing Life’s Direction
THEO VON: Was there a point where you started to — I think it’s interesting what you said about getting to certain moments and you’re like, “Okay, what’s going on now?” It’s kind of like you’re in life. A lot of times it does feel like that. Recently it’s been like that for me — where it’s like, I feel like you’re underwater for a long time, not in a bad way or anything. You’re just in the mix of life, doing things, and then you get to a point where you’re like, “Okay, let me come up and see what’s going on. Why am I — what goals did I set, and where am I now? Where do I want to be next? What things are important to me now? What strokes do I want to use next in my life to get me to where I want to be at the next checkpoint?”
CHRIS HEMSWORTH: For sure, yeah. And I feel —
THEO VON: Has it been kind of a recent thing that’s been going on?
CHRIS HEMSWORTH: Definitely, definitely. Yeah. There’s this book called The Middle Passage — which is a gentler term for a midlife crisis — by James Hollis. It’s Jungian psychology, and it’s beautiful because it talks about this personification of self, the gathering of our identity as children, due to our family bonds and ties, societal expectations — it could be religious community, whatever. And you go through life attempting to present what you think the world wants from you. Some of it you may have some input in, as far as what you want, but a lot of it is kind of an assembling to fit in.
And then you get to a certain point — usually around your 30s or 40s — where that mask, that personification, starts to wear thin and doesn’t hold up, and there’s this inner protest. Jung talks about how, from the soul, the psyche rises up and says, “There’s a deeper truth here and a meaning — what is it? What is my contribution?”
And it usually comes around when people find themselves in a place of servitude to something outside of themselves. You service yourself for so long as a sort of survival, to maintain a position in the workforce and so on. And then all of a sudden it’s like there’s something deeper that I haven’t answered.
Your purpose even shifts around — the why for doing things. It might purely be, as I was saying before, the purity around your motivations. What is your heart saying? What is your passion? That’s all very well, but you’ve got to pay the bills. So to be financially motivated for the purity of your life, to take care of folks and family — that’s one thing. And then, okay, that’s in a safe place now. What’s the next thing?
And I think if you’re lucky enough to find that thing that speaks to you on a deeper level, but also allows you to function and operate in the world and be financially secure, then great. But I find myself bouncing around with those questions a lot more than I ever have — a lot more indecision. I had this pretty strong, relentless confidence and pursuit when everything I was doing was as far out of reach as possible.
THEO VON: Dude, same. That’s exactly what I had.
CHRIS HEMSWORTH: And then all of a sudden you arrive and you have these things that were going to bring you all of that fulfillment. And they do, momentarily. And then you start to come up short and you’re like, “God, f*, what is it?” There’s this other burning desire, a voice that requires attention. And that, I think, is around solitude and a slight separation from the busyness of life and work and all the trappings — to answer some of those questions.
I haven’t come to any finite conclusion. But I find the more I enjoy the mystery of that question, and the seeking and the adventure and the path that takes you on — without an attachment to an outcome — I’ve found myself —
THEO VON: A lot happier. The better off you are.
CHRIS HEMSWORTH: Yeah. And a lot more at peace with the ebb and flow of things, however rapid that pendulum may be swinging.
THEO VON: Yeah. Sometimes I just want to know, and I want to know now — sometimes for my own safety, because I don’t want to be in limbo. But yeah, I think having that space of embracing the “okay, I don’t know right now” —
CHRIS HEMSWORTH: Yeah.
THEO VON: And that’s okay. That is what is going on, and let me enjoy this somehow.
CHRIS HEMSWORTH: And living in the questions, not the answers. I think there’s a danger in definitives. There’s a sort of almost a lack of humility in that, too. And this is where all of our problems arise, as my voice is correct and yours is incorrect and my verse is yours.
But allowing there to be mystery, questions, curiosity — I think then there’s an abundance of opportunity to learn, where new things start to come your way. Whereas as soon as I kind of go, “I’ve got it, I’ve figured it out,” and I put it in a box — myself, other people, scenarios — the world just obliterates that immediately. And then you’re left with that disappointment.
And it’s that expectation that I’m going to figure it out that is, I think, the trapping. But it takes real courage and bravery in the surrendering to that, and the willingness just to go, “Wow, this universal, cosmic dance, this adventure we’re on, is supposed to be fun.” And the most serious thing you can do is not take it seriously.
And I find myself, with the polarity of things, coming back to this all the time, going, “Okay, but what does that mean?” And then there’s that brief moment of stillness of, “I don’t know.” And it’s just being okay with the “I don’t know.” Yeah, dude.
Embracing Uncertainty and the Beauty of Not Knowing
THEO VON: A lot of times, when it comes to feeling just kind of in the world and in between spaces and uncertain — it’s almost like when you’re a kid and you run and you want to get your foot on the base.
CHRIS HEMSWORTH: Yeah.
THEO VON: That’s how I want to feel. I want to have my foot on a base. I want to have something that feels certain, or at least as certain as a kid waiting — I just want to know that’s where I have to be, as opposed to being like, “I’m going to stand here while the third baseman and the shortstop throw the ball back and forth.”
CHRIS HEMSWORTH: Yeah.
THEO VON: And I’m going to be the guy in the middle and I’m going to enjoy that.
CHRIS HEMSWORTH: Yeah.
THEO VON: Because the truth is, as a viewer — and I’m just using a baseball analogy — the best part of the viewing is you start to smile when that guy is in between the second and third baseman and they’re throwing the ball and you’re like, “How is this going to go?”
CHRIS HEMSWORTH: Yeah, for sure.
THEO VON: That’s really where the most joy kind of is.
CHRIS HEMSWORTH: That’s the anticipation, the mystery, the immersion in the adventure. It’s like, you know, this is why we pick up books and we want to flick to the end. We want to know what the end is. And same with life. And then you get to the end and you’re like, “Oh, geez.” Actually, it was all the trophy things you’ve heard before — the journey, not the destination, and so on.
And I wrestle with that all the time. But I’ve gotten better with understanding that I might have a handle on it today and I won’t tomorrow, and that’s okay. As opposed to just needing that definitive answer. But I mean, if we knew — the reason we understand our own mortality is what allows us to appreciate and love things. Without a conclusion at some point, an end to it, we wouldn’t even appreciate anything.
THEO VON: Right. What would life be then?
CHRIS HEMSWORTH: Yeah, you don’t know love without loss. And yet we spend so much time trying to either figure out the answer or avoid suffering. Yet the joy and the love and the loss are one and the same thing. And dang, dude. But I do riddles with myself around it.
And I don’t know about you, but as a kid at nighttime I would be sitting there going, “What does the end of life look like? And if it’s just blackness, if it’s nothing, can I still think in the nothing? Or is it like nothing, nothing?”
THEO VON: Yeah. Do I have any toys in the nothing?
CHRIS HEMSWORTH: Am I still able to talk to someone?
THEO VON: Or is there a Lunchable? Like, just tell me the nothing has Lunchables.
CHRIS HEMSWORTH: Dude.
THEO VON: Yeah. Dude, that’s crazy, bro. I’m realizing that you’re like a smart guy stuck in a good-looking guy. You’re not just a good-looking guy that’s like — oh, sorry. That’s a judgment, dude. Sorry. That was just a judgment.
CHRIS HEMSWORTH: A lot of questions.
THEO VON: Yeah, that’s a good way to be, man. Sometimes I just want to be at the end of the sentence so I feel safe.
CHRIS HEMSWORTH: Yeah.
THEO VON: It gets scary. I was just talking with — we just had Kevin James on, and we were talking about how, especially if I’m in a relationship or with women, or even just sometimes with a buddy, if there’s quiet, if it’s silent —
CHRIS HEMSWORTH: Yeah.
THEO VON: I’ll just start being like, “What else is going on?” I’ll have to fill it in. It’s hard for me to leave the opportunity for something different to bloom. But then I crave whimsy and unique experiences. So I think this conversation is neat just to even have a thought about that, because I think even just talking about this will be a reminder — next time I’m in some of those moments, let me just see what happens here.
CHRIS HEMSWORTH: Yeah.
THEO VON: You know?
Alan Watts on Falling in Love
CHRIS HEMSWORTH: Yeah. Do you ever read anything by Alan Watts?
THEO VON: I hear a lot of his audio and stuff. My mom always sends it to me.
CHRIS HEMSWORTH: There’s this beautiful thing he wrote about love and about the idea of falling in love, the absurdity of falling. He said people say, “Oh, it’s crazy to fall in love,” but the act of falling is a risk in itself, a surrender. You don’t say “rising to love.” And so anything worth pursuing that brings comfort and love and joy — there is an act of surrender that occurs at some point. And again, in being okay with the unknown, that gives me comfort. There’s something in that.
THEO VON: That’s a good point, dude. Yeah, it’s falling.
CHRIS HEMSWORTH: You don’t rise to love, you fall to love. It’s a beautiful quote.
THEO VON: And if you fall pretty far, you’ll end up in some weird spots.
CHRIS HEMSWORTH: You fall into some pretty tragic places, climb into some other ones, and —
THEO VON: Suddenly you’re in Amsterdam.
Limitless and the Science of Longevity
THEO VON: When I find that it’s time to find more peace — I know you did a documentary called Limitless, and I know you have your new movie Crime 101 and we want to talk about some of that. I watched it last night. But yeah, was there stuff that you learned? Because Limitless is about you experiencing different things to challenge yourself. Is that a good way to put it?
CHRIS HEMSWORTH: Yeah, it was. I’ve done two seasons of it, and then I did an individual episode with my dad. But it was a show about longevity and the science of longevity.
In the first season, I was very much the guinea pig in the name of science. I would be thrown into, say, an episode on cold water exposure — let’s show the benefits, and you can swim in the Arctic for five minutes and try to survive. Or the benefits of muscle mass for the brain — we’ll do a strength episode, so climb a 200-meter dam wall. And so it was all these pretty extreme examples representing the science we were talking about.
The second season I had a bit more agency with, and it was great. I was less of a guinea pig and had a bit more of an educated opinion around each topic. But I wouldn’t say I set out to do it for any particular reason — it just sort of came my way and sounded like a fun thing to do.
THEO VON: Yeah, it seems really interesting, those moments, just to almost have a buffet of things and go, “I’m going to try these and see what it’s like.” What was one of your biggest takeaways from it as a practice for yourself, if there were any? Or was there enough of an experience there to even have a practice — was it too much of a production to take something away?
CHRIS HEMSWORTH: Oh no, it had a profound effect on me, especially the second season, and the first season without me even realizing what was occurring. There were all the obvious things about strength training, cognitive health, cold water, heat exposure, fasting, and so on.
But the episode I did with my dad, called A Road Trip to Remember, was the most profound one. He was diagnosed with Alzheimer’s about four or five years ago.
A Road Trip to Remember — His Father’s Alzheimer’s Diagnosis
THEO VON: He was genetically predisposed to it, right?
CHRIS HEMSWORTH: Yeah. And that’s how we found out, because I did my blood work on that show and found out that I had two copies of the APOE4 gene. You get a copy from your mum and a copy from your dad — either a two, three, or four.
THEO VON: They both gave you a copy?
CHRIS HEMSWORTH: They both gave me a copy, but they both gave me the worst copy, which is the fourth. That meant I was a four-four, which is like one in a thousand people. I remember being with my dad and telling him about it, going, “This is a kind of — it’s not a death sentence, it’s not a predeterministic gene, but it’s like a big warning sign.” And he said, “Oh, don’t worry, mate. We’ll figure it out.”
THEO VON: Yeah. And how many times am I going to have to tell him about it?
CHRIS HEMSWORTH: But we didn’t know he was already — and then five years later, he got diagnosed. And I remember sitting there telling him, “Don’t worry, Dad, we’ll figure it out.” And so we went on this journey. It’s called A Road Trip to Remember — it’s this thing called reminiscence therapy, where you go back into your past, stimulate memories and experiences to stimulate the hippocampus, which is the part of the brain that dementia is attacking.
The Importance of Connection and Community
CHRIS HEMSWORTH: But spending time with him was kind of a love letter to him. It’s not — I was kind of hoping for a silver bullet to fix it, but it became more about connection. It became more about the things I got to say to him and ask him about his concerns and fears around the disease. I probably wouldn’t have asked him otherwise. And so it forced this kind of really beautiful, intimate series of conversations, and gave him some agency, I think, because they begin to feel like they’re a patient or they’re a burden. And all of a sudden, this was about him.
I did watch a shift, and the big one being social connection. The most important thing I took away from both of those seasons was support group friendships and connection. And the people in Blue Zones — where people live over 100, the most centenarians in the population within regions around the world — the commonality is having a wonderful sense of community and a wonderful support network. And then whether or not they drank alcohol or smoked or whatever, it was like the reduction in stress due to support networks and friendships.
THEO VON: Well, yeah, they say that in recovery — a lot of recovery communities — they say that connection is the opposite of addiction.
CHRIS HEMSWORTH: Yeah, right. Yeah.
THEO VON: That connection — yeah. I mean, I was in a meeting this morning, a Zoom meeting, and I’m sitting there just listening to guys share what’s going on with them. That’s real. And some of them say things that I’ve always wanted to say, and I didn’t know I could, but I couldn’t make the words. And then they made the words for me. And so there’s a part of me that starts to feel like, okay, that’s not a crazy piece of a thought that you’ve had. That’s a real thing. And somebody else just put it together for you. But yeah, just being able to connect — they say that is the opposite of addiction.
CHRIS HEMSWORTH: Yeah.
Blue Zones: Where People Live the Longest
THEO VON: Bring that back up — the Blue Zones. I’ve never heard of this.
CHRIS HEMSWORTH: It’s where there’s the most amount of people who have lived to be 100. And I think there’s Japan, somewhere in Italy.
THEO VON: Yeah. We got Okinawa, Japan.
CHRIS HEMSWORTH: Yeah.
THEO VON: Ikaria, Greece. Sardinia, Italy. Nicoya — and that’s Costa Rica.
CHRIS HEMSWORTH: Yeah.
THEO VON: And Loma Linda. But hold on, there’s none over by Australia. You guys didn’t get one.
CHRIS HEMSWORTH: Yeah, I don’t know if they skipped us.
THEO VON: Probably because of the dangerous species.
CHRIS HEMSWORTH: All the things that try and kill us. Yeah, we’re too busy backpacking to the places.
THEO VON: You guys are too busy over there making people happy in those places, probably. Blue Zones are regions of the world where people have unusually long and healthy lives, with many residents reaching age 90 to 100 while staying relatively free of major chronic disease. Researchers use “Blue Zone” to describe geographically limited areas where rates of centenarians are far higher than expected, and older adults remain active and independent. That’s a huge thing — that they remain active and independent.
CHRIS HEMSWORTH: Still working as well — still having some form of purpose.
THEO VON: Right. Purpose is huge. We talk about that all the time in here.
CHRIS HEMSWORTH: Yeah.
THEO VON: That if people lose their purpose, then what do we have?
CHRIS HEMSWORTH: Do you ever read Man’s Search for Meaning by Viktor Frankl?
THEO VON: I have read that.
Viktor Frankl and the Search for Purpose
CHRIS HEMSWORTH: That’s the “purposeful suffering,” he calls it. Watching people in the prison camp at Auschwitz — because he was a psychoanalyst, a therapist — people all under the same horrific circumstances and environment, and why some people’s bodies would give up and others wouldn’t. It was often when they found out that a loved one or family had been killed or died that their spirit, their soul, their body gave up.
And so he produced logotherapy, which was about giving a purpose behind whatever adversity you’re facing, and giving a sense of meaning to whatever suffering you’re going through. But again, with the centenarians — people not retiring, basically. And that doesn’t mean working yourself into the grave. There’s a difference. But the work could be — you have a garden to maintain.
THEO VON: You have grandchildren to keep tabs on. You have a trip to plan. You’re helping with one of your children’s activities. Yeah, I think about that a lot with my own mom as she gets older. I want her to be free of things. If she doesn’t want to work — she likes to work. She delivers for Amazon and stuff. She just loves it. I’ll call her and she’s like, “I’m just sitting in the lot waiting for a route.” She delivers for Whole Foods, different chain places. She’s 70-something, just sitting there in her van waiting to deliver a catalytic converter to some guy across town.
Thank you for bringing this up. This is so fascinating. I want to list off some of these so people know some of the things from these Blue Zones. Despite very different cultures, Blue Zones share several recurring features: natural movement — lots of walking, gardening, and manual chores built into daily life; plant-based diet, high in vegetables, beans, and whole grains; strong social ties.
Like we were talking about — multigenerational living, having your family members around you. Tara Swart was in here — she’s a neuroscientist, she’s an author, she’s a fascinating lady — and she was saying that when you feel the best, a lot of people feel the best when there’s a lot of people in the home.
CHRIS HEMSWORTH: Yeah.
THEO VON: When there’s just multigenerations, those families often get the best sleep because there’s just a connectivity going on. Low chronic stress. Just a few more of these Blue Zone common lifestyle patterns: a clear sense of purpose and generally optimistic, engaged attitudes. Light, regular alcohol — or none. In some places people drink small amounts of wine. In other places they avoid it entirely. Like in Sardinia, Italy, you’ll see a six-year-old out there drinking.
CHRIS HEMSWORTH: Yeah.
THEO VON: You know. “I’ll have a Chardonnay and some Peppa Pig.” It’s like you’ll see a five-year-old on his tablet ordering a Cabernet.
CHRIS HEMSWORTH: It’s like — that’s a good kind of bad.
Stress, Perfection, and Birthday Cake
THEO VON: Yeah. Well, I think this is just proof that there are ways to do it right. This is documented — this is data that shows there are ways to have a life that’s the most comfortable, if you can.
CHRIS HEMSWORTH: Because stress is the biggest killer, the cause of chronic disease and so on. I find the amount of stress involved in the idea of achieving perfection or doing things perfectly — I get asked all the time, “You must never eat sugar, never drink alcohol, train seven days a week.” And it’s like, I’ve had periods where I’ve gone into the extreme realm, but those are not when I’ve been my happiest or my healthiest.
THEO VON: What do you do when a birthday cake comes?
CHRIS HEMSWORTH: Smash it. I love a birthday cake.
THEO VON: What are you supposed to be — that weirdo?
CHRIS HEMSWORTH: Yeah. What kind of life is that? You’re not going to enjoy all of the —
THEO VON: Yeah. What do you do when a birthday cake comes? Because I’ll do low sugar — I’ll do no sugar, really. But sometimes if a birthday cake comes, what are you going to be? Some guy just over there carving up a cucumber? Some dude sneaking a carrot out of his pocket?
CHRIS HEMSWORTH: Just a little protein in the corner, just a little bit of icing.
THEO VON: And that’s not creepier to the kids at the party?
CHRIS HEMSWORTH: Tell me that guy’s not stressed. That’s a huge amount of stress involved in just smuggling that carrot into the party and then having to explain it.
THEO VON: Showing up at a kid’s birthday party with a couple of carrots in your pocket is way more stressful. And you’re right — there’s a different stress in being the person who’s sneakily eating crudités as other people are enjoying a birthday cake.
CHRIS HEMSWORTH: Yeah.
THEO VON: That is a different type of —
Community, Family, and Living Together
CHRIS HEMSWORTH: How many people do you meet who — it’s often with your grandparents — they smoked cigarettes, drank alcohol, ate steak and eggs every day, and they’re living to 90 or 100. But again, I’m not saying any of that is the top 10 tips to live longer. I think that was a time when you did have more family members in the house — grandparents, cousins, everyone lived in these smaller communities.
We’re also spread out now. And I don’t know about you, but in the last five to 10 years I’ve worked really hard to bring my family closer and closer. We all live in the same area for that reason, because I think a lot of us grew up — or definitely through history we grew up — with bigger households, shared responsibility. And now you have these little secular houses where you don’t even know your neighbors and your grandparents live somewhere else.
THEO VON: It feels good when your family’s right there. There’s layers to life when they’re around. There’s nothing better than when you’re feeling horrible and sad about yourself, to be able to look across the room and look at one of your parents’ eyes and be like, “This is your fault.”
CHRIS HEMSWORTH: Yeah.
THEO VON: And you can’t do that if you’re at home by yourself.
CHRIS HEMSWORTH: You can’t blame anyone if you’re sitting there looking in the mirror. That doesn’t work.
THEO VON: Yeah. And I think maybe we’re going to be getting back towards that — we may not have a choice, just because of the cost of living and things like that. My niece just moved back in with my sister. I think it’s kind of nice. There is something fun about feeling like a part of something, even if you’re kind of a curmudgeon about it. Like, “I live back at home.” But good for you.
CHRIS HEMSWORTH: Good for you. Absolutely. Plenty of time to live on your own. Good for you.
THEO VON: And to get to see his stepdad’s nuts hanging out of his freaking undershorts once a year, you know?
CHRIS HEMSWORTH: Once a year — once a week even. What a joy.
THEO VON: The Lord’s mistletoe. That’s the best. Brother, your father — how is he doing today?
CHRIS HEMSWORTH: He’s good.
THEO VON: He —
Craig’s Diagnosis and the Impact of Stress
CHRIS HEMSWORTH: Compared to some other family members and close by folks who were going through, or had the same diagnosis around the same time, who were in a sort of catatonic vegetative state — he could sit here with us and talk to us and you might not even know. And if you spend enough time with him, it’s the short-term memories, and then it’s the wrong kind of stress that becomes really evident. Stress for him — training in the gym, solving a crossword puzzle — great. But not finding his keys, losing things, and then beating himself up about it. That’s when you’ll watch his memory go really bad.
THEO VON: Wow, so stress is such a big activator.
CHRIS HEMSWORTH: Oh, it’s huge. He rides motorbikes and used to race motorbikes. He went down to put some gas in the petrol tank and it wouldn’t start. So Mum came, picked him up, took him back home. He got home and said, “Yeah, I needed the key.” And she’s like, “No, no, it just didn’t start.” He got the spare key, went back down — didn’t start again. And he did that three times throughout the day.
By the time I got home from work, I said, “Look, I’ll just come pick him up and pick the bike up.” I put the bike on the back of the car, and he was like, “All right, we’re going to your place to get my car, aren’t we?” And I said, “No, Dad, we’re taking your bike home.” And he’s like, “What bike?” He turned around twice in that ten-minute drive to see the bike in the back of the truck. That was as strong and as confronting as it’s been. But then the next day, once that problem had been solved, there was a calm and it was better. He’s doing good, man.
THEO VON: What’s his name?
CHRIS HEMSWORTH: Craig.
THEO VON: Hey, Craig!
CHRIS HEMSWORTH: Yeah.
THEO VON: What’s up, Craig? Cheers from the US, mate.
CHRIS HEMSWORTH: Yeah, he’s a legend.
THEO VON: Good day, sir. And what’s his trade been — his life? Was he a cattleman?
Craig’s Career in Child Protection
CHRIS HEMSWORTH: No, he worked in child protection for most of his career. When we went to the Northern Territory and he mustered cattle, that was just for a window — trying something different. We had family up there who were doing it, and in the documentary we end up back in the Aboriginal community we lived in. A couple of the guys called him a Chuck Norris-looking motherf*er because he had this long ponytail and would pull cattle down by the tail and tie them up.
THEO VON: I love a male Rapunzel.
CHRIS HEMSWORTH: Yeah. Male Rapunzel.
THEO VON: There’s nothing I love more, brother. Oh, that’s beautiful, dude. And child protection — what exactly is that?
CHRIS HEMSWORTH: He would go into homes where children were experiencing neglect, family violence, or abuse, and basically assess the situation, present evidence to a court, talk to the police department, and work out what should happen — whether the child was in a safe position.
THEO VON: Oh, wow.
CHRIS HEMSWORTH: Huge responsibility. And I watched the toll that took on him over the years — there were certain things he wasn’t able to fix. You solve one thing, feel like you have momentum, and then the next day there’s a big pile of other cases on the desk. But he was very much in service to others and has always been fiercely protective of kids. There’s this sort of angelic quality to his integrity.
THEO VON: We’ll hire him.
CHRIS HEMSWORTH: He’s ready and willing.
THEO VON: Look, I bet we could get him 30% of the vote right now in America to be our next president. If we have somebody that’s protective of children here, we’ll take it, man. And thank you for your service, Craig. I think that stuff is so important — thinking about the well-being of children. There’s nothing more pure that exists in the world.
CHRIS HEMSWORTH: Absolutely.
Australia’s Social Media Ban for Kids
THEO VON: Thank you for your service. We appreciate that. They just had a ban on social media — or was it cell phones — in Australia?
CHRIS HEMSWORTH: Yeah. I think we’re the first country in the world to ban kids 16 and under.
THEO VON: Yeah. Australia has banned social media for kids under 16. Under-16s in Australia have been banned from using major social media services including TikTok, X, Facebook, Instagram, YouTube, Snapchat, and Threads. Threads sucks. They cannot set up new accounts and their existing profiles were deactivated. Wow. I wonder if they all had like a D-Day when they were all gathered around a fire.
CHRIS HEMSWORTH: That’s the thing — are they all now re-entering different ages? I mean, I think it’s a fantastic thing.
THEO VON: Yeah, the idea of it seems perfect.
CHRIS HEMSWORTH: Yeah, and the execution — I hope there’s a positive navigation through it, because I’m sure my kids, if I change a passcode on the phone or whatever, they figure it out in seconds. They’re like little genius hackers with all of it. We try and keep them off it as much as possible, but.
THEO VON: Yeah, but also your passcode is often like “Handsome Guy 4000.”
CHRIS HEMSWORTH: That’s it. The obvious one. “Exceptionally Gorgeous.”
THEO VON: “Male, Seven.”
CHRIS HEMSWORTH: Hopefully this takes off around the world. I don’t know.
THEO VON: I’m going to see what this says here. Australia’s government said the ban would reduce the negative impact of social media’s design features that encourage young people to spend more time on screens while also serving up content that can harm their health and well-being. I don’t know any human that would disagree with that.
CHRIS HEMSWORTH: Yeah.
THEO VON: A study commissioned in 2025 found that 96% of children ages 10 to 15 use social media, and that 7 out of 10 of them had been exposed to harmful content — including misogynistic and violent material.
CHRIS HEMSWORTH: Yeah.
THEO VON: As well as content promoting eating disorders and suicide. I’m curious — large studies of more than 100,000 young adults find that each year of smartphone ownership before age 13 is associated with higher rates of depression-like symptoms, suicidal thoughts, aggression, and detachment. Detachment for sure. When you’re already in a place where you’re growing and your footing is uncertain, it’s like —
CHRIS HEMSWORTH: Yeah.
THEO VON: Girls show particularly big drops in emotional resilience and self-esteem. Cyberbullying and harassment — phones and apps mean bullying can follow kids home, which raises risks of depression, anxiety, and self-harm.
CHRIS HEMSWORTH: Sleep disruption. Big one.
THEO VON: Yeah. Sleep disruption and body image comparison, man. Well, cheers to you guys for leading the charge. I think Spain just followed suit. Is that right?
CHRIS HEMSWORTH: Oh, really? That’s where my wife’s from.
THEO VON: Oh, is it? Yeah. Spanish lady, huh?
CHRIS HEMSWORTH: Yep. Fiery. Very fiery.
THEO VON: Is your wife’s name Fiery?
CHRIS HEMSWORTH: No, I said fiery.
THEO VON: She’s fiery.
CHRIS HEMSWORTH: Fiery energy.
THEO VON: Oh yeah. Elsa. Like the movie.
CHRIS HEMSWORTH: Yeah. Frozen.
THEO VON: As of February 26, Spain has announced a ban on social media access for children under 16. I don’t know if we would ever do it here, because I think we look at our children more as okay to be victims of marketing and capitalism, whereas in other countries they maybe don’t. I’m glad that Australia is doing this. Do you feel like it would take some getting used to? There will be this group that has to be the one that loses it.
CHRIS HEMSWORTH: Yeah.
THEO VON: And then there will have to be the younger siblings of them that are like, “Oh, I wish we had it.” But if you could get it to go for like a generation, I think it would really play into something beautiful.
Growing Up as the Guinea Pig Generation
CHRIS HEMSWORTH: 100%. It’s even like — I don’t know, how old are you?
THEO VON: I’m 45.
CHRIS HEMSWORTH: 45.
THEO VON: So I’m going to die soon.
CHRIS HEMSWORTH: We all are. We were kind of the guinea pigs for it in a way. I remember getting the phone — it wasn’t even social media yet. And you look back on it. But we had enough awareness of what came before. Kids coming up now only know that this exists. Every time I try and tell my kids about the science around it, they’re like, “Oh, shut up.” There’s just no comparison for them.
THEO VON: And that’s the comparison.
CHRIS HEMSWORTH: We knew the comparison.
THEO VON: We knew the possibility.
CHRIS HEMSWORTH: We’re still doing it and we’re still ending up depressed. I don’t know about you, but —
THEO VON: Oh, dude, I’ve been off TikTok for a while now.
CHRIS HEMSWORTH: Yeah.
THEO VON: And I’m feeling better, man.
CHRIS HEMSWORTH: Yeah.
THEO VON: And the algorithm —
CHRIS HEMSWORTH: Oh yeah.
THEO VON: There should be legal recourse against an algorithm, because you’re creating —
CHRIS HEMSWORTH: Yeah.
THEO VON: A system of vitriol for me to then go — and that was just my responsibility. Nine minutes on “I hate a group,” and now I’m just back out into the world.
CHRIS HEMSWORTH: That algorithm is created from a question — not from an opinion. I might have curiosity to ask about a particular thing, and it goes, “That’s it,” and now you’re down that line. That’s the danger — it’s making up your conclusion. It’s giving you the definitive answer: this is how you should vote, this is why you should be opinionated, this is who you should like or dislike — all based on human curiosity. You might not even be a supporter of one political party, but you’re having a look at it, and the next minute that’s all you’re seeing and you’re fully on board.
THEO VON: It takes you from curious to convicted.
CHRIS HEMSWORTH: Take it.
THEO VON: And it takes you there fast. In the beginning I was like, “Oh, I’m curious about this.”
CHRIS HEMSWORTH: Yeah.
THEO VON: But then suddenly your next seven videos are about it, and now you have some —
CHRIS HEMSWORTH: A complete, biased opinion about it. Yeah.
THEO VON: And they can even serve it like stair steps — here’s the next one, here’s the next one.
CHRIS HEMSWORTH: You’re right, though. At bare minimum, they should not be allowed to create an algorithm that pushes one thing. It should require you to continue putting that search into the search engine, rather than the platform deciding, “This is all we’re feeding you now.” Because it’s all perspective. Your version of something and my version of that thing are entirely shaped by what we’ve been exposed to. There’s no right or wrong in it — it’s whatever education this machine in my hand has fed me.
THEO VON: And on X, they have people killing each other.
CHRIS HEMSWORTH: Yeah.
THEO VON: That’s insane.
CHRIS HEMSWORTH: My kids were talking about certain horrific events and I was like, “Where the hell did you see that?” And there’s nothing to stop it.
Social Media, Algorithms, and Desensitization
THEO VON: Oh, dude. Well, the craziest part is the other night I wake up, for some reason I’m obviously lonesome or whatever, so I’m on X or whatever. It’s like 3:15 in the morning. I don’t even know why I’m on there.
CHRIS HEMSWORTH: Yeah.
THEO VON: I see two people get shot outside of a Wendy’s. And they don’t even show you if EMTs come, they don’t show you that part. It’s just two people shot outside of a Wendy’s. And then the next thing is an advertisement for Wendy’s.
CHRIS HEMSWORTH: That’s it.
THEO VON: And I’m like, now I’m hungry. I don’t even care about the — it’s like I forgot.
CHRIS HEMSWORTH: Yeah. Oh, it’s insane.
THEO VON: And I’m like, well, do I need two bags of platelets and an EMT, or a Baconator?
CHRIS HEMSWORTH: Yeah. The complete desensitization to something, and then immediately being baited and hooked into the product being sold — it’s like…
THEO VON: And you get taken from something that’s so serious…
CHRIS HEMSWORTH: Yeah.
THEO VON: …to something that’s so trivial. It starts to deteriorate the part of you that takes something very serious.
CHRIS HEMSWORTH: Yeah, for sure.
THEO VON: And for these kids, now you have to walk over there and look this girl in the eyes and see that she might not be interested in you. Which is the genre that we grew up in.
CHRIS HEMSWORTH: Brother.
THEO VON: If you want to call somebody fat, you have to walk across town, you have to say it to them, and then you have to see their big fat fist come and hit you right in your smug face.
CHRIS HEMSWORTH: Yeah. There’s no accountability. That’s the other thing. The amount of smart alec, sarcastic sentiment and tone I hear from my kids and their mates, based upon the lack of consequence. Like you said that s* in high school and you felt it immediately — lesson noted, don’t say that again. Whereas now you’re plugging all sorts of things in your comment boards, or you’re commenting on what other people have done with very little, if any, consequence or repercussion.
Taking Control of Your Algorithm
THEO VON: Instagram rolls out algorithm control option to all English-speaking users. After launching it in early testing with a limited number of users in October last year, Instagram has today announced that all English-speaking users globally will now be able to access its “Your Algorithm” manual control option, giving you another way to define your Reels experience.
CHRIS HEMSWORTH: I thought it already did that, though. I remember meeting someone who said — this was like eight years ago — “No, no, you’ve talked about puppy dogs for a while and then all of a sudden puppy dogs are all over your Reels.” And they said, “No, no, they’re listening to individual words.” And I was like, individual words? It’s the entire sentence. And now there seems to be a sort of, “Oh, that’s an option.” But I’m pretty sure it’s been planted.
THEO VON: I’m sure it’s always been an option and it’s never been effective.
CHRIS HEMSWORTH: Yeah.
THEO VON: As you can see in this overview, you can access the “Your Algorithm” controls by tapping on the top. What does it do, though? So I’ve been using it and I changed my feed completely. I put on like editing tutorials, film lighting — my feed is all educational now. It’s helped a lot. It’s pretty awesome. And I think more people should know about it, because sometimes my fear is that I’m trapped in this algorithm of times that maybe weren’t my best self, or just what they fed you.
CHRIS HEMSWORTH: Yeah, for sure.
THEO VON: You get fed brassieres and this and that.
CHRIS HEMSWORTH: And it’s all targeted. Big response, it triggers big emotions. It’s all outrage, mostly.
THEO VON: Right. It’s like dopamine or…
CHRIS HEMSWORTH: Yeah. What’s going to piss you off?
THEO VON: Testosterone, you know?
CHRIS HEMSWORTH: Yeah.
THEO VON: So if I do see something I don’t want, I just tap the three dots and select “See less of” — and it’s really transformed my feed. I feel like I’m getting educated when I go on. That’s the place I want to be in. I have to take some action too, but it’s good to know that it’s effective.
CHRIS HEMSWORTH: Yeah.
Crime 101 — A Return to Character-Driven Heist Films
THEO VON: I saw Crime 101.
CHRIS HEMSWORTH: Oh, cool.
THEO VON: Yeah, dude. It’s a heist movie, right? Safe to say.
CHRIS HEMSWORTH: Yeah, yeah. It’s a character-driven crime thriller — somewhat of a homage to the ’70s, ’80s, ’90s, even early 2000s heist films that I feel like we used to see a lot more of and just don’t tend to make as much now. There’s insane action, car chases, and intensity, but that’s matched by the momentum and continuity of the emotional, intimate scenes as well.
It was one of the best things I’d read in years. It certainly wasn’t the type of scripts I was being sent, and I had an interest in doing something very different. This came along and it was up there with my top two or three films that I’ve been a part of.
THEO VON: Was it a personal challenge? I mean, your character is kind of a bad guy who’s questioning what’s going on with himself.
CHRIS HEMSWORTH: For sure. Mark Ruffalo plays a detective, I play a jewelry thief, and Halle Berry is an insurance broker. All three are at a crossroads in their lives. Mark’s character is facing police corruption — if he speaks up, he’ll be sent one way, and if he follows suit, he’ll get a promotion. Halle Berry is facing ageism and feels like she’s being passed over.
And my guy is in that same moral ambiguity, that gray space of justifying his criminality. We show the audience that he came from meager means, difficult times, in and out of foster homes — not to excuse what he does, but it raises the question of how one got to that point.
He does live by a very strict code. There’s a non-violent approach throughout his robberies. But he’s at a point where he’s seeking personal freedom and an escape from this world, and he’s presented with this one final heist that could be his exit. Each character is on a collision course with one another, all interweaved in what I found to be a pretty fascinating crescendo.
He’s a good guy wrestling with — in my backstory for the character — not having strong paternal or parental figures who held integrity or maturity for him to look to and model behavior from. Like a lot of guys we spoke to and researched in the criminal world, he came from a broken home. You seek connection, brotherhood, and safety in all the wrong places. That’s why a lot of guys end up in gangs — there’s family there.
THEO VON: Yes. Connection.
CHRIS HEMSWORTH: Yeah. And they’re also pushing back against a system that, in their eyes, gave them nothing. So it’s like, “Well, screw you. What did the insurance companies, the banks, the high-end jewelry and fashion entities ever give me?” Again, none of this is my justification for a life of crime, but I think the script does a great job at presenting deeper layers and a deeper look at just people, and the human condition.
THEO VON: I agree with that. One thing I noticed is there’s more of the story element. You have the action, you have this high energy — it’s almost like a bit of Fast and the Furious meets jewel thievery — but you also have these sincere storylines about what’s going on with these people. How they get into positions they maybe didn’t even want to be in, but there they are. How do we still view them as people? And how do they then operate to the best of their ability, even in not the best circumstances? Does that make any sense?
CHRIS HEMSWORTH: No, it did for sure. We should have used that as the tagline.
THEO VON: Most sense I’ve made.
CHRIS HEMSWORTH: I’ve been doing press for three weeks and I wish I’d had that quote. It’s been far more succinct than anything I’ve said.
THEO VON: The past year I haven’t been able to get something out. It’s been tough, man.
Moral Ambiguity, Storytelling, and Complex Characters
CHRIS HEMSWORTH: No, it’s true. And it does. I think when it doesn’t spoon feed or jam down the audience’s throat the answers and conclusions for things, it offers up ideas. And again, in the moral ambiguity space of right and wrong, nothing’s just black and white. We love to sort of categorize things — it’s easiest for us to understand. But when you get an insight into someone’s life, into their backstory, you go, “If I was faced with that, or I’d come from that, would I make this decision?” And if I had an opportunity that was lawfully wrong or immoral on one hand, could I justify it through this lens? And if it was going to pull me into personal freedom and escape this sh*y position I’m in, would I do it?
So you’re asking those questions as you’re along for the ride, hopefully. And I find that the beauty of filmmaking and storytelling is when you’re given a “choose your own adventure” sort of internal process — one that challenges your assumptions, but also keeps you from being so quick to judge.
THEO VON: Yeah. Because there are moments where you’re like, “Oh, this guy’s scary.” Like your character — he’s dangerous, he doesn’t care if people die. But then you see he has kind of a code of his own, and how he operates within this space, what he thinks of love, what he thinks is possible for him. It just had a deeper layer than just a smash-and-grab kind of heist movie.
CHRIS HEMSWORTH: Yeah, that was the goal.
THEO VON: It had a little bit of a James Bond-esque quality, in the sense of some of the chase scenes and stuff like that. It reminded me of some of that energy.
CHRIS HEMSWORTH: Yeah, for sure.
THEO VON: And just some of the music that went with it. There were certain moments where it gave me some of that energy.
CHRIS HEMSWORTH: Did you see Heat, or Michael Mann’s Collateral? Those types of films were a big comp for us — where the action had a realism, a grit, and authenticity to it, but you also had complex emotional characters along the way.
Kangaroos, Wallabies, and Australia
THEO VON: You ever steal anything good when you were young?
CHRIS HEMSWORTH: You guys ever steal anything?
THEO VON: Blow dart a wallaby and sneak over there and run it out of somebody’s yard? Just put him down. You think one dart would take a wallaby down or not?
CHRIS HEMSWORTH: It depends what kind of tranquilizer is in that dart. You mean like a tranquilizing dart? Poor dart.
THEO VON: Oh, tran. Tran.
CHRIS HEMSWORTH: Yeah, they go down. The wallabies are tiny. The big kangaroos — I don’t know.
THEO VON: Oh, dude, not some of the ones I saw over there. We went to that place outside of Melbourne — it was a big kangaroo park.
CHRIS HEMSWORTH: There are a lot of them out there.
THEO VON: Bro, we saw the one that’s jacked. We saw the Nate Diaz one.
CHRIS HEMSWORTH: Did you ever see that video of the guy punching on with the kangaroo? The wallaby comes up to get his dog, and he literally shapes up, throws a left and a right — pop, bang. Because the wallaby is trying to attack his dog, or it’s got his dog in a headlock or something.
THEO VON: Yeah, dude, we saw that one. We were afraid to move. I was waiting for a UFC referee to come in and say, “To your neutral corners.” I was waiting for Mark Goddard.
CHRIS HEMSWORTH: I mean, look at this — the wallaby’s got the dog in a headlock. Watch this jab. The kangaroo is like, “What the f*.”
THEO VON: Is that Luke Bryan? Oh, that’s beautiful, dude. I mean, that dog should have been able to get free, though. That’s a big dog.
CHRIS HEMSWORTH: Oh, they’re pretty strong, these things. And they’ve got little talons — big old claws on them.
THEO VON: Oh, dude. The ones we saw were very scary, but I had such a great time, man. In your country.
CHRIS HEMSWORTH: How long were you there for?
THEO VON: We were there for probably two weeks, dude. One of my favorite times was we got some e-bikes and went out during the day. We would go up and down the Gold Coast — you could bike on the sand, basically in the water if you want, and there would be nobody out there all day. It almost felt like we were on another planet, man. And then I got to meet Chris Lilly when I was there.
CHRIS HEMSWORTH: Oh, yeah.
THEO VON: Did you ever see his shows back in the day?
CHRIS HEMSWORTH: Oh, yeah. Hilarious.
Chris Lilly and Summer Heights High
THEO VON: “Stop looking at me.”
CHRIS HEMSWORTH: “That’s my dick, Dad.”
THEO VON: “Mom, that’s my dick.”
CHRIS HEMSWORTH: “It’s my dick. Yeah, I’m touching my dick.”
THEO VON: “Stop touching my dick.” Yeah, it would always be his dick.
CHRIS HEMSWORTH: All Jonah. That’s his name — Jonah.
THEO VON: What a legend, dude. To get to meet him — it literally felt like you were meeting something like a rare bird that showed up on a branch to talk with you for a little bit.
CHRIS HEMSWORTH: I remember crossing paths with him when I first started acting. He was a mate of a mate of mine. What he came up with was — I want to say it was around the time the Office was first coming up — that mockumentary style, but he played like seven or eight different characters. Talented dude.
THEO VON: Oh, dude. Mr. G. The musical. He had a bad habit for drugs, dude. So good. My God.
CHRIS HEMSWORTH: The fact that we can still say “Welcome to Mr. G’s classroom” and laugh right now — that is good stuff.
THEO VON: That is good stuff.
CHRIS HEMSWORTH: Yeah, that was pre — I think a lot of it isn’t acceptable now. He wouldn’t be able to make any of it now, but back then it was before any of that.
THEO VON: I’d make it with him in a heartbeat, dude.
CHRIS HEMSWORTH: If he wanted to, give him a call.
THEO VON: I’m sure he has people now. And you could put it out yourselves — you could do it yourself and put it out.
CHRIS HEMSWORTH: I think he’s in the cancel culture space. He kind of got caught up in that.
THEO VON: I think he felt that more than people realize. It was very real.
CHRIS HEMSWORTH: Oh, really?
THEO VON: Oh, I think so. Like, people thought he was making fun of Aboriginal culture or Tongan culture or something.
CHRIS HEMSWORTH: It was Polynesian, dude. And it depends who you spoke to.
THEO VON: Yeah, that’s a good point.
CHRIS HEMSWORTH: I had Polynesian buddies who loved him, and then other guys who were like, “Nah, it’s not cool, bro.”
THEO VON: Oh, I see.
CHRIS HEMSWORTH: Yeah, it’s complicated.
THEO VON: But yeah, dude. When he would do the break dancing, bro.
CHRIS HEMSWORTH: Oh, my God. And what was Jermaine? Jermaine, the —
THEO VON: Oh, yeah. Oh, my God. He’s in Year Seven.
CHRIS HEMSWORTH: There he is. So good.
THEO VON: Oh, God bless him, brother.
CHRIS HEMSWORTH: Go watch that.
THEO VON: If you’ve never seen Summer Heights High —
CHRIS HEMSWORTH: Summer Heights High — you can’t find it anywhere except on YouTube.
THEO VON: Yeah, I think on some distant channel, but it’s out there.
Caring for a Parent with Alzheimer’s
THEO VON: Are there things where you want to make sure your dad knows now? Like, is there a responsibility you feel as a child — like, “How do I make sure he’s okay?” Does that make any sense?
CHRIS HEMSWORTH: Yeah.
THEO VON: And even for other people that are experiencing this — since you’ve had experience with it, could you maybe share a little bit of that?
CHRIS HEMSWORTH: So when I had the premiere back in Australia, I had someone come up to me afterwards —
THEO VON: For Crime 101?
CHRIS HEMSWORTH: No, sorry — for the documentary with my dad.
THEO VON: Okay. For Limitless?
CHRIS HEMSWORTH: A Road Trip to Remember.
THEO VON: Got it.
CHRIS HEMSWORTH: And someone came up to me and said, “I was diagnosed around the same time your dad was. And I wish my kids could see this, because no one asks me how I am, or what I’m afraid of, or what I’m experiencing. People are nervous — they don’t know how to discuss it, so they dance around it and pretend it’s not happening. And so you suffer in silence.”
The biggest thing that I think has helped — that my dad has responded to — is asking him how he’s feeling about it. Because you talk to your parents about this stuff, and then your parents pass away, and then who do you talk to? It hit me that he doesn’t have his dad to go and have these hard conversations or these vulnerable moments with anymore. So I try to give him that space.
But also, I remember — about 15 years ago — that transition when he realized he wasn’t the authority anymore. We, as young men now working, knew more about certain things and weren’t seeking his advice as much. I remember seeing that on his face. It didn’t register enough for me to do anything about it at the time, but I was aware that the changing of the guard was occurring.
So I go to him now and I’ll ask him things that I may already know the answer to, just so he feels like there is still agency, and he has autonomy. They want to feel like they still matter and still have purpose.
THEO VON: That’s a good point. You don’t think about that — that when the changing of the guard happens, there’s a value loss, or a potential hypothesized value loss, for the parent.
CHRIS HEMSWORTH: Oh, for sure. And even with my kids — my daughter’s 13, my boys are 11 — I’m already feeling that. Like, “Oh, I’m not cool.” I’m not necessarily who they look to anymore. And they’re young.
THEO VON: Yeah. They’re watching Andrew Tate or whatever.
Caring for Aging Parents
CHRIS HEMSWORTH: They’re watching all sorts of things and have other role models. But it’s like, I think, and then I’m 42, but I can’t imagine in the 60s, 70s, when that gap becomes far greater. And especially facing having dementia and realizing your memories are being stripped away, and that vulnerability — just making sure they still feel like they are of purpose and that they have an opinion, and the opinion matters. And so, yeah, if anyone’s going through it, that would be my advice: check in with them. Ask them how they’re feeling. Ask them what they’re afraid of.
THEO VON: Because no one asks such a great question — “What are you afraid of?” Instead, you could just say, “Hey, how are you?”
CHRIS HEMSWORTH: Yeah.
THEO VON: But that’s not the same thing.
CHRIS HEMSWORTH: And that won’t bring out the answer. Like, I asked him on the show, and he went, “I just don’t want to be a burden.” And it was like, oh. And I had no idea that he felt that. I thought it was going to be about losing control of this and that and the other. But it was like he was more concerned with what it was going to do to the group.
THEO VON: Yeah. That’s what my mom says sometimes — “I don’t want to be any burden.”
CHRIS HEMSWORTH: Yeah.
THEO VON: And it makes me think, like, oh, yeah. In some ways, I’ve always wanted my mom to be, like, a burden — like the inverse of a burden, kind of whatever that is. Like a positive burden, or just, like…
CHRIS HEMSWORTH: Like a beautiful responsibility. Yeah. But, like, it…
THEO VON: But for her to say, “Yeah, I don’t want to be a burden.”
CHRIS HEMSWORTH: Do you find that it gives you purpose, though? Like, having this time with him, as confronting as it’s been, has also given me a greater sense of what matters. And also, the roles do transfer, and at a certain point, as an adult, you got to realize, “Oh, I now need to take care of them.”
THEO VON: Right.
CHRIS HEMSWORTH: And especially men — I don’t know. But in Australia, there’s a real avoidance around that sort of vulnerability, or the admittance that “I may be afraid of something” or “I need a hand.” And so offering that up, rather than having to get them to come to you and say, “Please check in with me.”
THEO VON: That’s a huge thing. Yeah. “What are you afraid of?”
CHRIS HEMSWORTH: Yeah.
THEO VON: Yeah. Because that’s really what I want to know, probably.
CHRIS HEMSWORTH: Yeah.
THEO VON: The other day I was thinking — I messaged my mom and said, “Hey, Mom, is there anything that you need? Is there any trip that you’ve always wanted to take? Is there anything?” Because now I have some finances where I could help do something, or if she wants to do something. And she’s like, “Nothing that I can think of.” Whereas you always think, “Oh, I’m going to have the ability to do this thing, and that’ll make it perfect.” But it’s like, no, that’s not real.
CHRIS HEMSWORTH: I always thought I would buy my mum things — jewelry and stuff — and she was like, “It’s lovely, but I want your time.” Just yesterday she was like, “Can I schedule one of your meetings to just get 15 minutes with you?” And I was like, oh. And she goes, “Well, I’m sort of half joking, but serious.” And you forget — when you get busy, it’s like, “Yeah, I’ll get to that, I’ll get to that,” and all these other things.
THEO VON: At least you can put her off on one of your other good-looking brothers.
CHRIS HEMSWORTH: Exactly. Yes.
—
Sean and Molly
THEO VON: Like, that’s got to be nice. Like, look, talk to the other good-looking one. I bet you didn’t even have wallpaper growing up — it was just mirrors everywhere. Just mirrors. You were all so excited. Like, “He’s coming, he’s coming.” Sorry, dude. Pull me a Fosters.
CHRIS HEMSWORTH: You ever drink Fosters?
THEO VON: I think I have, yeah. It’s a big can. This is what I would do though — I would drink it with two hands.
CHRIS HEMSWORTH: A big old, extra large, absurd can.
THEO VON: Oh, it reminded me of Sean and Molly. You ever seen Sean and Molly?
CHRIS HEMSWORTH: No.
THEO VON: Oh, bro, look them up. They’re Aussies, man.
CHRIS HEMSWORTH: Sean and Molly — they’re the best.
THEO VON: Yeah, get down with Sean and Molly. You’ve never seen these guys? Dude, Chris, next time you’re home — this is one of the best times I ever had in my whole life.
CHRIS HEMSWORTH: Did you do this in Australia or here?
THEO VON: Yeah, I was in Australia. “How you going? Good, right? Can I get a hug?” Yeah, dude, they do. They’re chefs.
CHRIS HEMSWORTH: I’ve never seen these guys.
THEO VON: “Thank you, boys. Thank you for welcoming me here.” “Yes, yes, I’m very happy to be here.” “I would say this is very fine.” He came to us then — “Come see me and Sean from the USA.”
CHRIS HEMSWORTH: USA.
THEO VON: “Have you been to America?” I can’t remember. And look, it’s becoming unmemorable, I’ll tell you that. Get to the part with the beer though. We made beer chicken, right? So these guys do recipes. Bro, if you ever — I’m not saying, but this would be an easy thing for you to go and do a little show — cooking and…
CHRIS HEMSWORTH: Bro, they live…
THEO VON: They don’t live together. One of them has Down syndrome. And one of them is Korean or whatever. They’re just mates, but they’ve been friends for a long time. We made beer chicken, right?
CHRIS HEMSWORTH: How was it?
THEO VON: Oh, dude, yeah, it was good. But Molly took the beer right out of the oven — hot beer — and just drank it straight out of the can.
CHRIS HEMSWORTH: Freaking chicken juice. And the temperature!
THEO VON: Look at that. That can is probably 200 degrees, bro. “Your receptors are off, baby. You gotta come up a little bit, bro.” He pulled it right out of the thing, bro. But dude, their families are so sweet, and they invited us over to their home. They made a piece of art — like a rat, like the rat king — they did special things just for me. Their families were there, dude, and it’s like the best. Honestly, I think it was the best part of my trip besides getting to perform the shows. Yeah, but that’s right outside of Sydney, I believe.
CHRIS HEMSWORTH: Yeah, he’s got a Rabbitohs top on, which is Russell Crowe’s rugby team — a Sydney team. Yeah, that green.
THEO VON: That must be why they’re heroes there, because they go to a lot of the games and stuff like that. But Sean and Molly are the best, bro. I think they still do the show all the time, so that’d be pretty cool to go see.
—
Finding Clarity and Purpose
THEO VON: Whenever you get into spaces where you’re talking about regrouping and getting a new look at things — having some moments of self-evaluation and reflection, seeing if your old dreams are still your current dreams, where they’ve gotten you, and what you do now — and enjoying the freedom of not knowing exactly where you’re at in your journey. Are there practices that you go to, to help you gain a little more clarity there? Like, spending time with certain people, or meditation? Are there some practices that you use?
CHRIS HEMSWORTH: Yeah. For me, I’m not great at traditional seated meditation. I could benefit from it if I forced myself to do it. But I prefer physical movement — like training. Surfing, for me, is an obvious one.
THEO VON: Oh yeah.
CHRIS HEMSWORTH: I’ve done that since I was 10 years old. And if I spend too long out of the ocean, my whole being starts to suffer in one way or another. Not just vitamin D, but this sort of magnetic pull the ocean has for me. That’s my true happy place. So yeah, I spend a lot of time surfing.
THEO VON: You’re comfortable enough on a surfboard to make a gang sign.
CHRIS HEMSWORTH: Dude, that’s actually in a wave pool. That’s in Abu Dhabi.
THEO VON: Oh, that’s…
CHRIS HEMSWORTH: Yeah.
THEO VON: Have you been to Pipe? Yeah, dude, I just went like two weeks ago.
CHRIS HEMSWORTH: I went 15 years ago once. It’s cool, huh?
THEO VON: So cool.
CHRIS HEMSWORTH: Awesome.
THEO VON: I didn’t know the Lexus Pipeline competition was going on.
CHRIS HEMSWORTH: Oh yeah, right, of course.
THEO VON: Each day when I went, it had been canceled because the conditions weren’t perfect. But that’s one thing that’s so amazing and unique about these surf competitions — it can only happen if the water is right.
CHRIS HEMSWORTH: Yeah.
THEO VON: So it was like this little Mecca that we’d make. Each trip is about an hour from where I was staying, which was silly — I should have just stayed up on the North Shore. But I’d get there and they’d be like, “Yeah, it’s canceled for the day.” But just seeing that, and seeing all the people come out, and all the surfers staying in this place — it gave me a whole different appreciation for it.
CHRIS HEMSWORTH: Yeah, especially Pipe. That event — they wait for it to be big and intense and beautiful. And if it’s not going to live up to that, they don’t run the competition until it does. So you’re often in for a pretty epic week of competition. But that place — talk about the power of the ocean and different regions. You’ll have a six-foot wave there that feels like 20 feet compared to what a six-foot wave would be at a beach break somewhere else. And the way the ocean comes from big deep water and just hits big slabs of reef is pretty mind-blowing and awe-inspiring and special, man.
THEO VON: It’s just — you feel the power of it all.
CHRIS HEMSWORTH: Yeah. Have you ever surfed?
THEO VON: I surfed. I used to live in Charleston, South Carolina. I would surf out there some, so I could do it, but I would need to go focus on it.
CHRIS HEMSWORTH: Yeah.
THEO VON: I think recently what I’ve been thinking is, man, I just want to. And it’s like, I could do it, but podcasting takes a lot of attention. You’re going for the next week — it’s like having a show every week.
CHRIS HEMSWORTH: Yeah.
THEO VON: And so you’re preparing, and sometimes we do two a week now because there are so many different people to talk with.
CHRIS HEMSWORTH: Yeah. And so this is another skill you’ve got to learn. It’s a lot of hours.
THEO VON: Yes. And it’s hard to feel like I’m always like, “All right, I’ve got to make sure this next one is okay.”
CHRIS HEMSWORTH: Yeah.
Finding Balance and Stepping Back
THEO VON: I’m never at a place where I feel like, yeah. So it’s like, I need to give myself a little more space and grace and just be like, okay, if you do go for a week or two, go do some things that you also want to enjoy.
CHRIS HEMSWORTH: You know, I do find it hard to switch off.
THEO VON: Yes, I do find it hard to switch off, but I also find it, like, take some time and go do these things. And I’m not complaining. I know I can do it. I think it’s just like, it’s like we’re talking about earlier, having that space in your life. Letting the uncertain have a little bit more room to walk around, you know?
CHRIS HEMSWORTH: Yeah. The observation, the stepping back, it’s like.
THEO VON: Yeah. Like, what will I see if I were to go have some new experiences? And what will I learn when I’m a little separate? Just being like that is as much of the value as sitting here looking under the microscope. Is standing out of the room and not even being in the laboratory, you know, and just having some of that energy. So I’m not complaining. I know I can do it. But it’s just like, some of it probably is a fear, you know?
CHRIS HEMSWORTH: No, it’s hard to get off the train of when there’s momentum with anything, you know, especially if you’ve been shocked by the handbraking of when it doesn’t work out or things are kind of static and you’re sitting there going, I had that type of energy. And so to sort of willingly, by your choice, step off — is this it?
There’s a risk to that, but it also is kind of scary because it’s like there’s a safety net, and just carrying on is exhausting and maybe detrimental. It could be because you’re missing other things. There’s a risk involved. But again, I’m sure with you, you found the same thing in life — when you’ve stepped outside of the bubble, the bigger lessons are learned, the biggest sort of experiences occur.
THEO VON: And I think I came from that place where that was the thing I love the most. But it’s okay. It’s all interesting. And I think that’s why, even just having time like this today to think about this, it’s like, yeah, we’ve been talking, we’ve been podcasting, but I think this is a conversation that I just needed to hear, you know?
CHRIS HEMSWORTH: Oh, cool. So me too. I mean, it’s like I said at the start — none of it I’ve figured out. It’s like I just keep continually asking and exploring and then hopefully not being too bogged down in having to come up with the outcome or the definitive certainty of it. It’s just staying curious, I feel like, is the more fulfilling place to be in.
—
Heading Home and Raising Kids
THEO VON: Are you almost back to Australia? Heading back home?
CHRIS HEMSWORTH: Yeah, I have the premiere. It’s an Australian crime film. And then I fly back home tomorrow. I’ve been gone for three weeks. And it’s hard, man, with kids.
THEO VON: Oh, and they’re here with you now?
CHRIS HEMSWORTH: No, no. And they’re at the age where they weren’t really aware of time for a long time. And now they’re like — it pisses them off, you know, and it’s like, “How long have you been gone?” And, “You’re supposed to be a dad and you’re never here.” And then it’s like, “It’s not a dick, dad.”
THEO VON: It’s not a dick.
CHRIS HEMSWORTH: A dick dad. So looking forward to getting back. Miss them.
THEO VON: That kid was crazy to be saying “dick” that much at school.
CHRIS HEMSWORTH: Like 24/7 as well. He’s a ranger. “He’s a ranger, miss.” “Stop calling him a ranger.” “Well, he is, miss. Why not?”
THEO VON: Yeah.
CHRIS HEMSWORTH: Yeah.
THEO VON: Dude. And didn’t his dad come down one time?
CHRIS HEMSWORTH: Yeah, his dad came down because this is the funniest one. So he does a drawing, and it’s basically a drawing of an image leaning over and touching him on the groin. And he’s just taking the piss. And the teacher’s like, “What’s this?” He’s like, “Oh, that’s me and my dad.” So she calls down the principal, the teacher’s involved, and then they call the dad in and they’re like, “Yeah, we’re really concerned about what’s happened.” And he goes, “Yeah, I made it up.” And then the dad loses his sh. “What the f? What would I touch his d for? What did you say?”
THEO VON: Oh, thank God there’s humor in the world.
CHRIS HEMSWORTH: Oh my God. If we can’t laugh and have fun and enjoy the experience, what the hell are we doing?
—
Teaching by Example
THEO VON: What’s the way that you communicate with your children, or teach them to communicate, that you think has been a novel choice for you — something that you brought along from a place that you learned? Has that been a practice for you? Because it just seems like you try to have some awareness about why you think certain ways and why you operate. Are you able to incorporate that into some of your kids’ interactions and lives?
CHRIS HEMSWORTH: You do. But I think the biggest thing I’ve learned is nothing I say is really imprinted. They learn by example. And if I’m not modeling that behavior, it doesn’t matter how many times I tell them, “Do as I say, not as I do.” It’s just rubbish. And so if I’m trying to tell them to get off their phones or stop swearing, I’ve got to do it too.
Exposing them to nature, you know — we lived in LA for probably 10 years, my wife and I, before we had kids. And then we had kids, we were there for about a year or two, and it was kind of chaos trying to do anything with the kids — paparazzi and so on. And so we moved back to Australia.
THEO VON: And what pervert would take pictures of a kid? That’s the weird thing, you know what I’m saying? Except for most of the people in our —
CHRIS HEMSWORTH: Yeah. Except this business.
THEO VON: Except for most capitalists and Hollywood elites.
CHRIS HEMSWORTH: Oh, it’s brutal. Yeah. And so we went back home and we just didn’t get that sort of attention. It’s been a good choice — the best ever, like a big conscious choice to leave the environment that was, even for my own personal sanity, constantly reminding me of what I was doing or what I was not doing. It’s very hard to escape the thought process.
But for them, just to expose them to what I thought was a normal upbringing — being as much outdoors as possible. We have a farm, and they surf, and we have motorbikes and horses. And look, what a luxury that is. We grew up in the bush but had no money, you know, and now it’s very different financial circumstances. And that’s the trick — trying to teach them the same sort of appreciation and gratitude that I had learned by not having money. But now we’re equipped very differently.
THEO VON: That’s tough to do.
CHRIS HEMSWORTH: It’s a really tricky one, you know.
THEO VON: It’s hard to teach your kids your same struggle.
CHRIS HEMSWORTH: Yeah. And so you try to expose them to different situations or parts of the world. But it’s also in discussing with them the importance of not taking it for granted and having gratitude for it.
I talked to my mum about this all the time and she’s like, “I could show you, whether on this end of the financial spectrum or not, healthy and unhealthy people. It’s about love and security — do they feel safe to explore this world and explore who they are genuinely? Do they feel seen?”
So making sure we’re there and present, and when I’m not working, being 100% there — not with your head somewhere else. Just getting them outdoors, you know, it’s the biggest thing.
—
A Different Kind of School
CHRIS HEMSWORTH: They went to a traditional sort of school, and then we put them in a school where it’s just 15 kids and three teachers. They surf for two hours in the morning and then do really focused learning for a couple of hours in the afternoon. It’s kind of like homeschooling in a way. But they’re absorbing that information more because they’ve exerted energy through the day. There are fewer kids and more teachers, so there’s far more personal interaction.
It’s almost like accidental learning — their math class might be around shaping a surfboard. So it’s, you know, 6 foot 2 and 18 and a half inches — what’s the leverage and the volume? They’re calculating things where there’s an invested interest, as opposed to just numbers on a board. Has it been working? Well, they’re happier than they’ve ever been. They’ve been at that school for a year and a half or two years.
THEO VON: And that’s a blessing, man.
CHRIS HEMSWORTH: Yeah.
THEO VON: And a lot of people are talking about homeschooling here more in America. You’re starting to see a lot more of it. I’m friends with Candace Owens, and she talks about this all the time — get your kids into a space if you can, where other neighborhood moms or dads are also doing the teaching.
CHRIS HEMSWORTH: I’d be worried if it was homeschooling with me trying to teach them. We did that during COVID, and that was a nightmare.
THEO VON: You were teaching them during COVID?
CHRIS HEMSWORTH: Just all of us were being sent the curriculum, and it was like trying to teach them grade five math. None of it made any sense compared to whatever math I learned in high school 20 years ago. And I was like, “Let’s go outside. Let’s go surf.”
THEO VON: Would you have a chalkboard or whatever?
CHRIS HEMSWORTH: No, oh no. Just to get them to write one sentence was like World War III. All three of them were just constant protest and not listening. And I called my buddy who was their teacher and I said, “How are you doing it?” He goes, “Mate, I can’t even get my own kids to do it.” He said, “Let’s just catch up when this thing passes.” So we did outdoor education, which was like, yes.
—
The Rise of Homeschooling
THEO VON: Adventure homeschooling hit record numbers last year. DIY education grew at nearly three times the average rate it did during the COVID-19 pandemic. So it’s growing at three times the rate that it did during COVID. That’s unbelievable. In the 2024-2025 school year, homeschooling continued to grow across the United States, increasing at an average rate of 5.4%. Amen, dude.
CHRIS HEMSWORTH: Yeah.
THEO VON: I think the system in a lot of places can be contrived, so to have some autonomy over what your children are learning — this is nearly three times the pre-pandemic homeschooling growth rate of almost 2%. Recent estimates put the total homeschooling population at about 6% of students across the United States, compared to about 3% pre-pandemic.
CHRIS HEMSWORTH: I wonder how much of that is parents teaching their kids, or a group of 10 or 12. That’s the problem, I think — class sizes are too big. You’ve got one person for 30 kids. Good luck, you know? Whereas having more of a mentorship, tutoring sort of program where it’s fewer children and more teachers —
THEO VON: Oh, it’s yeah. When there’s just some connection.
CHRIS HEMSWORTH: Yeah.
Wrapping Up and Final Thoughts on Education
THEO VON: Because when you’re just sitting there, you’re almost just like a piece of cattle for information. That’s what you feel like in school. A lot of times I would remember that it would be like, yeah, well, there’s just this information. I write it down and it’s like, what do we — it doesn’t feel like…
CHRIS HEMSWORTH: No, there’s no relationship to it.
THEO VON: There’s got to be a better way to do this. And there’s no real relationship to each other while we’re learning it.
The fraction of parents saying K through 12 education is heading in the wrong direction was fairly stable from 2019 to 2022, but rose in 2023 and then again in 2024 to its highest level in a decade. The reasons for the move away from public schools certainly vary from family to family, but there have been notable developments in recent years. During the pandemic, many parents discovered that their preferences regarding school closures and health policies were anything but a priority for educators. I don’t even know if teachers have as much individuality and autonomy as they used to, anyway.
CHRIS HEMSWORTH: Yeah, and it’s tricky. My mom was a teacher. It’s just…
THEO VON: Yeah. What does she say about it? And this is America, too. America is definitely…
CHRIS HEMSWORTH: Yeah, but it’s just how — it’s one of the hardest jobs in the world. She just said trying to control 30 different personalities and then teach 30 different personalities who have different styles of learning and absorbing information was just chaos.
You look at our education system 500 years ago, and now it hasn’t changed. Just a chalkboard and people sitting at a desk looking in one direction, yet every other form of industry has evolved exponentially.
THEO VON: That’s a great point.
CHRIS HEMSWORTH: So I think there does need to be a big, drastic shift in how we’re teaching our kids. People talk a lot about AI and absorbing information — do kids absorb it better? Can you curate it more? But you have to have an individual there. We can’t cut off the human experience or the human connection part of it.
But if you could control it, you want to incentivize teachers and encourage more people to come into this industry by paying them more. Government funding, because they don’t get paid enough. They don’t get rewarded enough.
THEO VON: It’s dark.
CHRIS HEMSWORTH: I mean…
THEO VON: Yeah. The fact that we don’t pay them — and nurses now.
CHRIS HEMSWORTH: Yeah. It’s backwards.
THEO VON: It’s heartbreaking. It’s just — and it’s not the people.
CHRIS HEMSWORTH: No.
THEO VON: It’s the elites. It’s the government. That’s the sick part.
CHRIS HEMSWORTH: Yeah, we could go down a rabbit hole.
THEO VON: Yeah, we could go down a rabbit hole. But let’s just stay in the Garden for today.
CHRIS HEMSWORTH: In the Garden, brother.
Crime 101 — In Theaters Now
THEO VON: We’ll stay in the Garden for today. Crime 101.
CHRIS HEMSWORTH: It’s in theaters Valentine’s Day weekend.
THEO VON: Oh, yeah. It’s a great date night out. If you like heist films —
CHRIS HEMSWORTH: Driven, thought-provoking.
THEO VON: Yeah. You like some espionage? You like different levels of heist?
CHRIS HEMSWORTH: Yeah.
THEO VON: You want to support the heisters —
CHRIS HEMSWORTH: Thomas Crown Affair, Heat, Collateral. It’s a big, beautiful cinematic experience shot in the gritty streets of Los Angeles. Nothing gets shot here anymore either, so there’s a nostalgia to watching this film that I think people appreciate.
THEO VON: Yeah. David Spade and I made a movie — and I know I’ve said this before — it’s coming out in April. We shot just north, right outside of here. We actually shot some of it in places where I’ve even been at AA meetings, dude. We shot in places where I’ve done AA meetings over the years, so it’s pretty legendary.
But yeah, it’s great to see something shot in LA. And if you’ve been to LA, you’ll see parts in the background. I was like, “Oh, that’s Venice.” Like whenever Ruffalo was sitting outside with Halle Berry. And Halle Berry’s in it, huh?
CHRIS HEMSWORTH: Fantastic. Man, what a force she was. It was crazy working with her. I’ve admired her for so long, and she’s incredible.
It was one of those moments — I’ve had this happen one time with Cate Blanchett as well — where I’m so intimidated by the person and watching them in the middle of the scene, but also so captivated by what they’re doing, that I’m just like an audience member and I’m forgetting that I have to contribute. And she’s just a beautiful human being.
Barry Keoghan’s in it as well, which is a surprise. Talk about dangerous electricity on screen — on and off camera. He has such an unpredictability about him, and it’s just captivating.
THEO VON: You feel like he’s in control of what he was doing, you know?
CHRIS HEMSWORTH: Yeah.
THEO VON: My friend Crosby Fitzgerald is in it as well. She plays Ma in the new remake of Little House on the Prairie that’s coming out. Our fans over the years know that I love that show, and she has just a small role in it. So talented. And that show is going to be on Netflix coming out very soon.
But Crime 101 — it’s in theaters now. Give my best to your brothers. And thanks so much for coming and just sharing some information with us, dude.
CHRIS HEMSWORTH: I appreciate you, man. I love the show and have been excited to come on for a long time, so thank you, dude.
THEO VON: It was fun and I appreciate it. Tell everybody in Australia that I said what’s up — and we’re coming back there, dude. We’re going to go to the beach and we’re going to do everything.
CHRIS HEMSWORTH: You hit me up. We’ll go e-biking and we’ll hit the coast.
THEO VON: Good day. Yeah, good day for that. All right. Cheers, man. Thank you so much.
CHRIS HEMSWORTH: Thanks so much, man.
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