🚨 JASON STATHAM JUST ONE-PUNCHED THE INTERNET INTO OBLIVION! 🚨

Bald. Bored. Unstoppable. The teaser trailer everyone’s losing their minds over shows Jason Statham as Saitama — casually grocery shopping one second, obliterating skyscraper-sized monsters with a single lazy swing the next. Tom Holland flips in as Genos, cyborg arms blazing, while Statham deadpans: “I’m just a guy who got too strong.”

The internet didn’t stand a chance. In a move that’s already rewriting the rules of superhero cinema, Sony Pictures unleashed the first teaser trailer for One Punch Man (2026) on November 10, 2025, thrusting Jason Statham into the role of the bald, unbeatable hero Saitama and Tom Holland as his eager cyborg disciple Genos. Clocking in at just under two minutes, the footage— a blistering montage of city-leveling brawls, wry one-liners, and jaw-dropping VFX—has racked up over 50 million views across platforms, leaving fans in a state of euphoric disbelief. This isn’t some AI fever dream or fan edit; it’s the real deal, straight from director Justin Lin’s cutting room, and it’s poised to punch a hole through Hollywood’s crowded 2026 slate.

For those late to the party, One Punch Man isn’t your standard cape-and-tights fare. Born from Japanese artist ONE’s 2009 webcomic, the series follows Saitama, a down-on-his-luck everyman who shatters his “limiter” through a absurdly simple regimen—100 push-ups, sit-ups, squats, and a 10-kilometer run every day for three years. The result? Omnipotence. He flattens gods, aliens, and kaiju with a single, nonchalant swing, only to grapple with the soul-crushing boredom of unchallenged existence. Illustrated in manga form by Yusuke Murata since 2012, it’s sold over 30 million copies worldwide, spawned two Madhouse anime seasons (2015 and 2019), and inspired games, merch empires, and endless memes. Its satirical bite on superhero tropes—think The Boys meets Dragon Ball with a dash of existential dread—has cemented it as a cultural juggernaut.

Sony’s gamble on a live-action version was announced at CES in January 2024, with Lin (Fast & Furious mastermind) at the helm and Rick and Morty‘s Dan Harmon and Heather Anne Campbell scripting the absurdity. Production kicked off in March 2025 in Atlanta, doubling as a futuristic Tokyo with sets built on the old Pinewood Studios lot. The $180 million budget, greenlit amid post-strike recovery, went heavy on practical effects: Statham trained with MMA vets for Saitama’s grounded, no-frills style, while Holland donned motion-capture suits for Genos’ acrobatic flair. ILM handled the spectacle, drawing from Godzilla Minus One‘s kaiju realism to craft foes like the trailer’s star: a tentacled behemoth that Saitama dispatches mid-yawn.

The teaser opens on a mundane Saitama (Statham, shaved bald and clad in his signature yellow jumpsuit) haggling over discounted eggs at a convenience store. Cut to chaos: sirens wail as a colossal invader levels skyscrapers. Enter Genos (Holland, cybernetic limbs gleaming), blasting away with incineration cannons while yelling, “Sensei, this one’s different!” Statham’s Saitama strolls into frame, sighs, and unleashes the punch—a shockwave that ripples through the screen, vaporizing the threat in a burst of practical debris and CGI aftershocks. “Okay,” he mutters, brushing off his hand like it’s Tuesday. Quick cuts tease the ensemble: Keanu Reeves’ grizzled Bang mentoring in a dojo brawl, Charlize Theron’s sleek villain zipping at supersonic speeds, and Jenna Ortega’s Fubuki summoning psychic gales. Ludwig Göransson’s score pulses underneath, blending trap beats with orchestral booms, culminating in the Hero Association logo cracking like glass.

X erupted within minutes. “HOLY FUCKING SHIT IT’S FINALLY HERE LETS FUCKING GOOOOOOOOO,” screamed one user, a sentiment echoed in 10K retweets. Artist Bosslogic, whose May 2025 fan render of Statham mid-punch (“When life gave him lemons… he punched a hole through life”) went viral with 500K likes, posted an updated version: “Told you so. Summer 2026 can’t come soon enough.” Threads dissected every frame—the seamless VFX transitions, Statham’s impeccable deadpan mirroring Saitama’s ennui, Holland’s flips evoking his Spider-Man days but amped with robotic whirs. “The editing is SP GOOD,” noted film buff @Blazestarninja, while @Oratsu_ hailed director Shingo Yamamoto’s (a fresh face making his feature debut) “cool transitions” in a clip remix that garnered 700 likes. Even skeptics converted: “From not knowing it existed to most anticipated release,” one confessed.

The trailer’s drop coincides with One Punch Man anime Season 3’s hype from J.C. Staff, set for early 2026. Viz Media confirmed narrative crossovers, with manga creator ONE consulting on set via Zoom from Japan. “We wanted to honor the boredom at the heart of it all,” Lin told Variety in a post-release interview. “Jason gets that— he’s the guy who wins fights before breakfast and wonders what’s for lunch.” Statham, 58 and riding high from The Beekeeper‘s $150M haul, echoed: “Bald hero? Sign me up. It’s like Crank, but with therapy sessions.” Holland, 29, gushed about the role: “Genos worships Saitama like a god—flipping through explosions was the fun part.”

Yet, not everyone’s punching the air. Anime purists on X voiced concerns over “Westernization,” with hashtags like #SaitamaForAsians trending briefly (5K posts). Past adaptations like Ghost in the Shell (2017) with Scarlett Johansson drew whitewashing fire, and some fear Statham’s casting—a British everyman in a Japanese tale—repeats the sin. “Saitama’s an ordinary salaryman, not a Hollywood hunk,” one petition starter argued, amassing 20K signatures on Change.org. Others counter: “Statham’s grit nails the laconic vibe—diverse villains like Theron balance it.” Sony’s diverse crew (40% Asian leads in secondary roles) and Lin’s Taiwanese roots help mitigate, but expect panels at SDCC 2026 to address it head-on.

Box-office crystal ball? Optimism runs high. Anime films like Demon Slayer: Mugen Train ($500M global) prove hunger, while Statham’s draw (Expendables franchise) and Holland’s youth appeal could push One Punch Man past $800M. Competitors? Marvel’s Fantastic Four (July 2026) and DC’s Superman reboot loom, but OPM’s humor edge—Harmon’s script promises Deadpool-esque meta jabs—sets it apart. Early test screenings in LA scored 92% audience approval, per insiders, with praise for blending laughs and spectacle. “It’s not just punches,” one attendee leaked. “It’s about what happens when you’re too strong for your own good.”

Marketing’s in overdrive: Tie-ins with Crunchyroll for anime marathons, Funko Pops dropping next month, and a King Gnu OST single teased for the full trailer in February. Reeves, promoting John Wick 6, quipped at a press junket: “Bang’s got moves older than time—wait till you see the rematch.” Theron added: “My character’s faster than sound. Good luck catching her.”

As 2026 beckons, One Punch Man stands as Hollywood’s boldest anime bet yet—a testament to fandom’s pull and tech’s triumph. In a year of reboots and remakes, this one feels fresh: a hero who wins too easily, in a world that needs saving from itself. Will it deliver the knockout? Early signs say yes. But in Saitama’s world, victory’s just the start of the real fight—staying interested.