# Udûn (The Lord of the Rings: The Rings of Power)

"Udûn" is the sixth episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). The episode is set thousands of years before the novel in Middle-earth's Second Age. It was written by Nicholas Adams, Justin Doble, and showrunners J. D. Payne and Patrick McKay, and directed by Charlotte Brändström.
The series was ordered in November 2017. Payne and McKay were set to develop it in July 2018. Filming for the first season took place in New Zealand, and work on episodes beyond the first two began in January 2021. Brändström was revealed to be directing two episodes of the season that May, including the sixth. Production wrapped for the season in August 2021. The episode-long battle for the Southlands is the culmination of several character arcs, bringing key characters together for the first time and featuring them in multiple action sequences. It ends with the eruption of Mount Doom, created through visual effects, which turns the Southlands into the dark land of Mordor.
"Udûn" premiered on the streaming service Amazon Prime Video on September 30, 2022. It was estimated to have high viewership and received generally positive reviews. The episode received several awards and nominations, including a Primetime Creative Arts Emmy Award nomination for its sound editing.

## Plot

An army of Orcs led by Adar find the tower of Ostirith abandoned. While they search for the humans, Arondir triggers a booby-trap that collapses the tower on many of the Orcs. The humans, who had moved down the valley back to Tirharad, cheer as the tower falls. Meanwhile, Galadriel, Queen Regent Míriel, and soldiers from Númenor make their way towards the Southlands by ship. Galadriel meets Isildur and learns from his father, Elendil, that Isildur's mother drowned.
Arondir attempts to destroy the broken sword but is unable to with conventional tools. He tells Bronwyn that he is going to hide it as Theo watches on. Arondir helps the town prepare for the next assault. He professes his love to Bronwyn and promises a life together with her and Theo after the battle. That night, the Orcs enter Tirharad. The townspeople trap them in the center of the village and are victorious, but soon realize that many of the enemies they just killed were the humans who had joined Adar.
Orc archers shoot at the townsfolk, killing and wounding many. Bronwyn is hit in the shoulder; Theo and Arondir cauterize her wound. Adar demands the broken sword and Arondir attempts to negotiate, but the Orcs continue to kill people. Theo reveals the sword and gives it to Adar when Bronwyn is threatened. Adar orders the rest of the humans to be killed, but the Númenóreans arrive on horseback and kill or capture the remaining Orcs. Adar is captured by Galadriel and Halbrand as he attempts to escape.
Galadriel interrogates Adar, discovering that he is an Elf who was corrupted by the first Dark Lord, Morgoth, and turned into one of the first Orcs. He claims to have killed the second Dark Lord, Sauron, and is now focused on creating a home for all Orcs. Halbrand is hailed as the King of the Southlands and the Númenóreans celebrate their victory. Theo realizes that the broken sword is missing as Waldreg uses it to unlock the dam beside Ostirith. Water rushes into the Orcs' tunnels which lead to the mountain Orodruin. The water enters a magma chamber beneath the mountain and the resulting pressure causes an eruption that spews lava, ash, and smoke over the Southlands.

## Production
### Development

Amazon acquired the television rights for J. R. R. Tolkien's The Lord of the Rings (1954–55) in November 2017. The company's streaming service, Amazon Prime Video, ordered a series based on the novel and its appendices to be produced by Amazon Studios in association with New Line Cinema. It was later titled The Lord of the Rings: The Rings of Power. Amazon hired J. D. Payne and Patrick McKay to develop the series and serve as showrunners in July 2018. Justin Doble joined the series as a writer by July 2019, and Charlotte Brändström was set to direct two episodes of the first season by May 2021. The series was originally expected to be a continuation of Peter Jackson's The Lord of the Rings (2001–2003) and The Hobbit (2012–2014) film trilogies, but Amazon later clarified that their deal with the Tolkien Estate required them to keep the series distinct from Jackson's films. Despite this, the showrunners intended for it to be visually consistent with the films. Amazon said in September 2019 that the first season would be filmed in New Zealand, where Jackson's films were made.
The series is set in the Second Age of Middle-earth, thousands of years before Tolkien's The Hobbit (1937) and The Lord of the Rings. Because Amazon did not acquire the rights to Tolkien's other works where the First and Second Ages are primarily explored, the writers had to identify references to the Second Age in The Hobbit, The Lord of the Rings, and its appendices, and create a story that bridged those passages. The first season focuses on introducing the setting and major heroic characters to the audience. Written by Nicholas Adams, Doble, Payne, and McKay, and directed by Brändström, the sixth episode is titled "Udûn".

### Writing

Because they were approaching the series as a prequel to the Third Age rather than a direct adaptation of Second Age stories that they did not have the right to adapt, the showrunners wanted to explore the Second Age in ways that would be surprising for the audience and then show the evolution from that point to the way things are in the Third Age. An example of this is the eruption of Mount Doom which turns the Southlands into the dark land of Mordor. McKay said the writers wanted to have a "major centerpiece moment that we hoped would kind of brand the show", and said the eruption was supported by references in Tolkien's writings to the volcano going dormant for centuries and then reawakening. Environmentalism is a key theme in Tolkien's works, and the showrunners felt it was appropriate that Mordor be a corrupted version of a once beautiful land just as the Orcs are corrupted versions of Elves.$^{:22:23–26:37}$
The episode depicts a plan by the Orcs and their leader, Adar, to unlock a dam and send water rushing through tunnels to set off the volcanic eruption. The mechanics of this are "loosely based" on the real world physics of what would happen if a large amount of water entered the magma chamber under a volcano, as explained by writer Gennifer Hutchison's father who is a geologist. The showrunners explained that the plan to unlock the dam and ignite the volcano was put together by Sauron on the orders of the first Dark Lord, Morgoth, to create a land where their forces could retreat to in the event of defeat. Adar has co-opted that plan for his own purposes, which is to give his "children"—the Orcs—a home of their own. Playing on the idea from Tolkien that evil can only corrupt, not create, this order of events shows Morgoth's intention to corrupt an existing land for his forces, Sauron's approach of cruelly enlisting the Southlanders to build the dam that will one day lead to the destruction of their home, and Adar's decision to "corrupt" their plans into one of his own.$^{:22:23–26:37}$ Adar preferring the term "Uruk", which is the name for Orcs in Black Speech, came from his actor Joseph Mawle who came to personally dislike the word "Orc" being used on set, even outside of filming.$^{:26:35–32:07}$ The episode's title, "Udûn", is the word for "hell" in the Elvish language Sindarin and it later becomes the name of a valley in northwest Mordor, where the episode takes place.$^{:0:00–4:56}$
Since early writing work in 2018, the writers knew that the sixth episode would be the culmination of key character arcs for the first season, including those of Galadriel, Elendil, Isildur, Arondir, and Bronwyn. The writers' room had a board tracking the season's major characters and many of them had a pink card with a volcano on it, reflecting that the eruption is the major event of the season that impacts many lives.$^{:24:09–28:15}$ Despite the episode being very action-heavy, the showrunners liked the quieter character scenes that it includes such as Galadriel's discussions with Isildur and Elendil, and the scene where Arondir and Bronwyn plant seeds before the battle begins. The latter is reflected by Adar doing the same at the start of the episode, showing that he still follows some Elvish customs. The seeds that Arondir and Bronwyn plant are the same seeds that Bronwyn gave to Arondir in the first episode, and Arondir uses some of them later in the episode to help heal Bronwyn after she is wounded. It was important to the showrunners that the episode have strong emotional stakes rather than just be about action sequences and special effects. They felt the audience would care about the fighting because they already cared about the "blended family" of Bronwyn, Theo, and Arondir.$^{:22:23–26:37}$
The showrunners acknowledged that the scene between Galadriel and Halbrand late in the episode, where they discuss how they feel fighting together, could be perceived as romantic. However, they hoped by the end of the season that audiences would interpret it more as an acknowledgement that the two characters feel they are at their best when they work together.$^{:2:21–38:35}$ Earlier in the episode, Bronwyn comforts Theo by telling him that "this shadow is but a small and passing thing". This line is based on a similar one from The Lord of the Rings when the characters Frodo Baggins and Samwise Gamgee are making their way through Mordor. That is McKay's favorite Tolkien moment and he felt it was "fair game" to use in the series because it was not included in Jackson's films.

### Casting

The season's cast includes Cynthia Addai-Robinson as Míriel, Maxim Baldry as Isildur, Nazanin Boniadi as Bronwyn, Morfydd Clark as Galadriel, Ismael Cruz Córdova as Arondir, Tyroe Muhafidin as Theo, Lloyd Owen as Elendil, and Charlie Vickers as Halbrand. Also starring in the episode are Joseph Mawle as Adar, Geoff Morrell as Waldreg, Peter Tait as Tredwill, Anthony Crum as Ontamo, Alex Tarrant as Valandil, and Phil Grieve as Bazur. Jesse Turner, Mike Homick, Robert Strange, Jed Brophy, Edward Clendon, Luke Hawker, Ellyce Bisson, Rob Mackinnon, Hori Ahipene, and Tim McLachlan play unnamed Orcs in the episode.

### Filming and design

Production on episodes beyond the first two began in January 2021, under the working title Untitled Amazon Project or simply UAP, following an extended filming break that began due to the COVID-19 pandemic. Brändström first began discussing plans for the sixth and seventh episodes while she was in COVID-19 quarantine on her way into New Zealand.$^{:0:22–2:57}$ The episodes were planned using virtual production which allowed Brändström and cinematographer Alex Disenhof to move virtual cameras within a digital environment. This was the first time Disenhof had worked with the technology. They had two months of pre-production before filming started for the two episodes. Brändström and Disenhof were inspired more by production designer Ramsey Avery's sets and artwork than what the series' other directors and cinematographers had done so far, believing they could bring a fresh perspective to the series because of their episodes' unique story elements and greater focus on location shooting. Brändström felt the episodes were more like one long film, with the sixth episode being the set-up for dramatic payoffs in the seventh.$^{:5:08–24:03}$ They chose to play into this feeling by focusing on Galadriel's perspective at the end of the sixth episode and again at the start of the seventh. Brändström was confirmed to be in New Zealand for production in May 2021. The episodes were filmed across 80 first unit shooting days and 30 second unit shooting days. Filming for the season wrapped on August 2.
Vic Armstrong was the stunt coordinator and second unit director for the season. A year-and-a-half of pre-visualization went into planning the episode's battle sequences,$^{:49}$ using virtual production as well as real filming with the stunt team, storyboards, and practical models of the village set.$^{:12:45–14:03}$ The Tirharad village was built on a farm near Auckland, and was exposed to the weather for several months due to the extended production break. Avery said this gave the set natural aging, including real moss. The Ostirith tower set was built on the backlot at Kelly Park Film Studios, up to 40 feet (12 m). The rest of the tower was created through visual effects. Brändström reviewed the sets with Avery to determine where action beats could take place.$^{:0:22–2:57}$ They felt audiences would get tired of continuous sword fighting and instead approached the episode's battles as a series of individual skirmishes and moments for each main character. Brändström took inspiration from the action films Braveheart (1995) and Gladiator (2000), and the art of John Bauer.$^{:5:08–24:03}$
Much of the episode is set at night, and seven weeks of night shoots took place for those scenes. This was during New Zealand's winter and Brändström said she spent those months walking in mud. Disenhof wanted to use real fire to light the episode, including a lot of torches, and designed the moonlight to be visible but to not overpower the torch light. The torches only lasted a minute each, giving limited time for each shot to be filmed. Disenhof used overhead lighting for the moonlight and underexposed the cameras to get the right look for the night scenes. He was careful to ensure that the characters and actions were still visible in the night scenes after some recent high-profile examples of television series being too dark to see. To counter the effects of wind during the night shoots, lights were added to a truss grid that was hung from a construction crane over the village set. This allowed wind to pass through the grid and not move the lights, which would not be possible with traditional filmmaking lights. Three cameras were used for the battle scenes, with each shot being designed for the "A" camera, a complementary angle being set up for the "B" camera, and the "C" camera looking for other interesting angles. Two technocranes, a camera dolly, limited steadicam, and hand-held cameras were all used. Brändström noted that the episode uses more hand-help and Dutch angles than others in the season because of the focus on action and dramatic moments.$^{:5:08–24:03}$ Bronwyn wears a red cloak during the battle scenes to make her stand out from the other characters and to indicate that she is a healer.
Armstrong got the idea to pit the quick and agile Arondir against a big, brutal Orc from a scene in the film Raiders of the Lost Ark (1981) where Harrison Ford's Indiana Jones fights a large German mechanic played by Pat Roach. Armstrong was Ford's stunt double on that film. The sequence begins with Arondir falling off a roof before being thrown through a fence by the Orc. It is filmed to appear as one shot but was actually multiple sections combined, including two wire-work stunts: one where Cordova's stunt double Paddy Church falls off the roof and another where Cordova is pulled by a wire as he is thrown through the fence.$^{:4:57–22:17}$ The fight with the large Orc took several weeks to film. Cordova did most of the hand-to-hand fighting himself. Arondir's fighting style was inspired by martial arts such as Wushu and Capoeira to differentiate him from the military-trained Númenóreans. When he was first performing the fight, Cordova's approach revolved around Arondir being a near-invincible Elf. They ultimately felt that it would be more interesting for the audience to show the character struggling more.$^{:4:57–22:17}$ When Arondir stabs the Orc in the eye and is covered with its blood, a "mixture of gooey chocolate, gelatin and food coloring" was used. Cordova trained for the episode's fight scenes for eight months, including three months focused on the fight with the large Orc. When Arondir is shooting arrows, Cordova was sometimes filmed with a practical arrow or half of an arrow which he would drop as he released the bow string. Other times he would mime the action with no arrow. Regardless of the technique, the visual effects team added the firing arrow. Cordova struggled to keep his fingers the correct distance apart when firing without a practical arrow, which was needed so the visual effects team could put the arrow between his fingers. To solve this, Cordova designed a double-fingered ring with a circle in the middle that was the circumference of an arrow. This was 3D-printed and allowed him to always have the right amount of space between his fingers. In the opening scene, Arondir fires an arrow to bring down the tower, jumps down from the rampart, kicks the door closed, and continues firing arrows. Cordova had to film the entire sequence in one go, including the jump down which was done with a wire rig.$^{:4:57–22:17}$
Adrian Stent was the horsemaster for the series, providing 45 horses as well as wranglers, coordinators, and trainers. The most horses on set for any one day was 28.$^{:48–49}$ Brändström hoped to have more horses on set but was limited by the pandemic. To make up for this, she filmed the same horses and riders coming from different directions and then used visual effects to expand on the number of horses in each shot. Armstrong selected the horses for the main chase sequence in the episode. The actors who ride horses in the episode spent four months training before filming began. This was especially useful for Clark, who had never ridden a horse before and had to portray Galadriel as a skilled rider. Her horse, Titan, was one of the best trained horses available to the production. Brändström studied ancient battles in preparation for the episode and took specific inspiration from the cavalry of the Cossacks, who had used unique tricks to avoid enemy fire while on horse back. Brändström wanted to use these for the Númenóreans to show their special skills as horse riders. The stunt riders were not prepared to do tricks while riding the horses and had to train specifically for it to achieve Brändström's vision.$^{:5:08–24:03}$ A stunt where Galadriel slides off her saddle to one side to avoid attacking Orcs was performed by a stunt rider rather than Clark. Halbrand ending the chase sequence by leaning down and tripping Adar's horse as the pair ride towards each other was inspired by a scene that Armstrong doubled Ford for in the film Indiana Jones and the Last Crusade (1989), where Indiana Jones reaches down to pick up a rock while riding a horse. Other stunts that were filmed include riders falling off their horses, multiple riders pulling a chain between them to take out a group of Orcs, and a moment where a horse jumps over a group of Orcs. The latter was filmed separately from the Orc actors for safety reasons: a motion control camera was used to complete the same movement each time so the two takes could be combined in post-production. First and second units handled different parts of the fight sequences, and there were days where Brändström was directing in the village while Armstrong was on a nearby hill directing horses. Disenhof used the Phantom Flex4K camera to film the Númenóreans riding towards the Southlands at 500 fps. Armstrong suggested that some action shots be filmed at 22fps, lower than the usual 24, to create a faster action style that Disenhof said gave them "an extra bit of oomph". Some shots were also sped up in post-production. Armstrong wanted the Númenóreans to arrive at the village just as the sun was rising, so the production only had a short window at the end of each night to capture those shots.
Disenhof found a tree that he wanted to frame Adar beside for his opening speech. Brändström then planned for the character to start behind the tree with a more intimate moment before emerging to make the speech. The camera angles for Arondir's speech were planned during rehearsals. After the design team placed an Orc head on a spike on set, they were inspired to add a shot that starts on the Orc head before changing focus to Arondir. One of the most challenging scenes for Disenhof was the one set on the Númenórean ship at dawn, because the ship was outdoors and the scene had to be filmed during the day. He used different fabric covers, including a silk cover that was 150 feet (46 m) long by 50 feet (15 m) wide, to block the sunlight so he could control the lighting. He used different lights to create a "soft ambience" and the effect of the Sun rising. Brändström used Dutch angles for the scene where Galadriel interrogates Adar, to show that she is losing balance and becoming destabilized during their conversation. Short lenses were used to differentiate this scene from the action sequences.
The celebration scenes at the end of the episode take place in bright sunlight, which Disenhof wanted to emphasize to contrast with the nighttime battle scenes. He felt this made the volcanic eruption more surprising for the audience. Practical explosions and water geysers were filmed in the village for the volcano sequence. This was important to Brändström because it created more natural reactions from the actors during filming. She said the cast were surprised by the size of the geysers when they were first set off, which made for better reactions. The village was filmed from a wide angle to show these practical effects and the subsequent volcano damage that the visual effects team added. At the end of the episode, Galadriel stands frozen in disbelief as the volcano erupts in front of her. Disenhof designed a shot that starts with her centered in a wide frame and then pushes in to a close-up. He intended for this to reflect that the world is collapsing around her. These scenes was filmed later in the day, when the sun was no longer on the village set, to reflect that the volcano's ash is blocking out the sun.

### Visual effects

Visual effects for the episode were created by Industrial Light & Magic (ILM), Wētā FX, Method Studios, Rodeo FX, DNEG, Rising Sun Pictures, Cause and FX, Atomic Arts, and Cantina Creative. The different vendors were overseen by visual effects supervisor Jason Smith. DNEG was responsible for augmenting the action scenes, adding additional Orcs, horses, and Númenóreans to make the scenes feel more "dense". These were all based on scans of real horses and people rather than being created from scratch by the visual effects team. A shot of the Orcs crossing a bridge to the tower with their torches reflecting in the water was designed by Disenhof and Brändström in virtual production. They filmed the camera movement as best they could in the backlot where the tower set was built and handed that to the visual effects team to complete.
Wētā, ILM, and Rising Sun all contributed to the water and volcano effects at the end of the episode. Wētā created Ostirith and handled shots of water flowing from the dam into the Orcs' tunnels; ILM was responsible for the water inside the tunnels, using scans of the real tunnel sets, and the initial eruption; and Rising Sun created the ash cloud and falling lava in the village. The visual effects team studied real-life volcanic eruptions as reference for the sequence, including the eruption of Mount Vesuvius in 79 AD and the 1980 eruption of Mount St. Helens, as well as the more recent 2021 Cumbre Vieja volcanic eruption and the 2019 Whakaari / White Island eruption.$^{:12:45–14:03}$ They also looked at films that feature volcanic eruptions. Producer Ron Ames compared the episode's version to an atomic bomb. Based on their research, Smith wanted to have a clear timeline of the characters seeing the eruption, hearing it, and then being hit with a shockwave. The design of Mount Doom was influenced by its depiction in Jackson's films as well as Tolkien's own illustrations and description.

### Music

Composer Bear McCreary began work in July 2021, and started by composing the main themes for the series. He wrote an "anthem" for each culture and then created individual character themes that relate to their culture's music in different ways. The sixth episode's score brings together several of those themes for the first time, including those for Bronwyn and Arondir; Númenor in general and the Faithful Númenóreans specifically; Halbrand, which also represents the Southlands; and Galadriel. For the episode's many action sequences, McCreary said he "pushed the limits of my action music composition, employing every technique I have ever learned." He took inspiration from John Williams's music for the Indiana Jones films for Arondir's fight with the large Orc, and did an orchestral version of John Carpenter's synth music for the scene where Bronwyn is wounded.
McCreary's wife and frequent collaborator, Raya Yarbrough, contributed vocals for Bronwyn and Arondir's theme—singing in Sindarin—for when Bronwyn comforts Theo before the battle and when she is hit by an arrow during it. McCreary enjoyed the dramatic irony of having Yarbrough's voice return from the earlier scene as a "musical ghost" in the latter. For the sequence where Galadriel and Halbrand chase down Adar on horseback, McCreary wanted to underline the moment's importance by composing a new piece of music rather than using his existing character themes. This piece is called "Nolwa Mahtar", which means "Brave Warrior" in the Elvish language Quenya, and includes a choir singing in Quenya. He originally intended this to be a one-off track, but McCreary later admitted that he was looking for an opportunity to use it again in future episodes. When Galadriel interrogates Adar and the latter claims to have killed Sauron, McCreary chose to underline the moment with a "huge swell in the orchestra". The showrunners asked him to change this to a more subdued moment to keep the focus on Mawle's performance. In the following scene, where Galadriel and Halbrand talk, the sound mixing team found that Halbrand's theme was overpowering Vickers's dialogue. McCreary solved this by changing the scene's key instrument from a fiddle to a cello, and his team organized a last minute session to record the change. To end the episode's score, McCreary composed a "symphonic finale" with a choir singing in Quenya that accompanies the volcanic eruption.
A soundtrack album featuring McCreary's score for the episode was released digitally on the streaming service Amazon Music on September 30, 2022. McCreary said the album contained "virtually every second of score" from the episode. It was added to other music streaming services after the full first season was released. A CD featuring the music from the episode is included in a limited edition box set collection of the first season's music from Mondo, Amazon Music, and McCreary's label Sparks and Shadows. The box set was released on April 26, 2024, and includes a journal written by McCreary which details the creation of the episode's score.
All music is composed by Bear McCreary:

## Release

"Udûn" premiered on Prime Video in the United States on September 30, 2022. It was released at the same time around the world, in more than 240 countries and territories. For two weeks leading up to the premiere of the second season on August 29, 2024, the episode was made available for free on the streaming service Samsung TV Plus in the US, Canada, Brazil, the United Kingdom, and Germany.

## Reception
### Viewership

Whip Media, which tracks viewership data for the 21 million worldwide users of its TV Time app, calculated that for the week ending October 2, two days after the episode's debut, The Rings of Power was the second-highest original streaming series for US viewership behind Disney+'s She-Hulk: Attorney at Law. This was a move up from being fifth-place the week before. Nielsen Media Research, which records streaming viewership on US television screens, estimated that the series was watched for 966 million minutes during the week ending October 2. This put the series in third-place on the company's list of top streaming series and films, behind only Netflix's Cobra Kai and Disney+'s Hocus Pocus 2. Parrot Analytics determines audience "demand expressions" based on various data sources, including social media activity and comments on rating platforms. During the week ending October 7, the company calculated that The Rings of Power was 30.3 times more in demand than the average US streaming series, moving it up to seventh on the company's top 10 list for the week.

### Critical response

The review aggregator website Rotten Tomatoes calculated that 87% of 30 critics reviews were positive and the average rating for the episode was 8.3 out of 10. The website's critics consensus reads, "Focusing on a battle for the Southlands, 'Udûn' features some of the most rollicking action ever witnessed on television and delivers The Rings of Power's most conventionally satisfying episode yet."

### Accolades

Accolades received by the The Lord of the Rings: The Rings of Power episode "Udûn" :
| Award | Date of ceremony | Category | Recipient(s) | Result |
| Golden Reel Awards | February 26, 2023 | Outstanding Achievement in Sound Editing – Broadcast Long Form Dialogue / ADR | Robby Stambler, Damian Del Borrello, Stefanie Ng, Ailene Roberts, Ray Beentjes, and Gareth Van Niekirk | Nominated |
| Golden Reel Awards | February 26, 2023 | Outstanding Achievement in Sound Editing – Broadcast Long Form Effects / Foley | Damian Del Borrello, Robby Stambler, Paula Fairfield, James Miller, Chris Terhune, Gareth Van Niekerk, Ryan A. Sullivan, Goeun Everett, Richard Wills, Jonathan Bruce, and Amy Barber | Nominated |
| Primetime Creative Arts Emmy Awards | January 7, 2024 | Outstanding Sound Editing for a Comedy or Drama Series (One-Hour) | Robert Stambler, Damian Del Borrello, Ailene Roberts, Stefanie Ng, Paula Fairfield, Chris Terhune, James Miller, Michael Baber, Jason Smith, Amy Barber, and Jonathan Bruce | Nominated |
| Visual Effects Society Awards | February 15, 2023 | Outstanding Visual Effects in a Photoreal Episode | Jason Smith, Ron Ames, Nigel Sumner, Tom Proctor, and Dean Clarke | Won |
| Visual Effects Society Awards | February 15, 2023 | Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project | Kurt Debens, Hamish Bell, Robert Kelly, and Gabriel Roccisano (for Volcano Destruction) | Won |
| Visual Effects Society Awards | February 15, 2023 | Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project | Rick Hankins, Aron Bonar, Branko Grujcic, and Laurent Kermel (for Water and Magma) | Nominated |
| Visual Effects Society Awards | February 15, 2023 | Outstanding Compositing and Lighting in an Episode | Sornalingam P, Ian Copeland, Nessa Mingfang Zhang, and Yuvaraj S (for Tirharad Cavalry Charge) | Nominated |

## Companion media

An episode of the official aftershow Deadline's Inside the Ring: LOTR: The Rings of Power for "Udûn" was released on October 1, 2022. Hosted by Deadline Hollywood's Dominic Patten and Anthony D'Alessandro, it features exclusive "footage and insights" for the episode, plus interviews with cast members Owen, Cordova, Clark, Vickers, Muhafidin, Baldry, and Boniadi as well as Brändström, Doble, and McCreary. On October 14, The Official The Lord of the Rings: The Rings of Power Podcast was released on Amazon Music. Hosted by actress Felicia Day, the sixth episode is dedicated to "Udûn" and features Córdova, Payne, and McKay. On November 21, a bonus segment featuring behind-the-scenes footage from the episode was added to Prime Video's X-Ray feature as part of a series titled "The Making of The Rings of Power".