Kat Dennings, a familiar face in the Marvel Cinematic Universe (MCU) through her portrayal of Darcy, has sparked humorous speculation about her future in the franchise. Despite denying any current involvement in the upcoming "Avengers: Doomsday" film, Dennings revealed that Marvel has conducted a full body scan of her. This candid admission has led to playful comments from the actress about her digital likeness being available for any future Marvel endeavors, stirring conversations about the increasing use of advanced technology, specifically body scanning and artificial intelligence, within the Hollywood film industry and its implications for actors' creative control and digital presence.
The Digital Frontier: Kat Dennings and Marvel's Body Scans
On January 9, 2026, actress Kat Dennings, during an interview with Entertainment Tonight, humorously addressed her potential future in the Marvel Cinematic Universe. Known for her role as the witty scientist Darcy Lewis in films like 2011's "Thor," 2013's "Thor: The Dark World," and 2022's "Thor: Love and Thunder," as well as the Disney+ series "WandaVision" and the animated series "What If…?", Dennings categorically denied being cast in the highly anticipated "Avengers: Doomsday," set for release on December 18. However, she candidly disclosed a significant detail: Marvel has performed a comprehensive body scan of her. Dennings quipped that this scanning means her likeness is now part of Marvel's digital archives, jokingly stating, "They could put me in anything they want at this point. Who knows? I’m in the system!" This statement sheds light on a growing trend in Hollywood, where advanced digital scanning is becoming routine. Celebrities like Charlize Theron, who underwent a scan for her role as Clea in "Doctor Strange in the Multiverse of Madness," and Nicolas Cage, who voiced concerns about the practice after being scanned for "Spider-Man Noir" and another project, have also discussed their experiences with body scans. VFX supervisor Stephane Ceretti previously explained in 2018 that these scans are primarily used for detailed costuming and ensuring realistic visual effects, suggesting that Dennings' digital self is meticulously cataloged for a myriad of potential cinematic applications.
Dennings' lighthearted remark about her digital presence in the Marvel universe underscores a fascinating and increasingly pertinent dialogue within the entertainment sector. As technology advances, the lines between an actor's physical performance and their digital representation are becoming blurred. This trend invites us to consider the evolving nature of acting and intellectual property in the digital age. While body scans offer filmmakers unparalleled flexibility and creative options, they also raise ethical questions about the ownership and control of an actor's digital likeness. Will future contracts need to explicitly address the use of scanned data? How will actors maintain agency over their images once they are 'in the system'? Dennings' experience serves as a compelling, albeit humorous, case study in the ongoing digital transformation of cinema, prompting reflection on both the exciting possibilities and the complex challenges that lie ahead for performers in an increasingly virtual world.