Rian Johnson’s Knives Out mysteries aren’t just vehicles for zippy whodunits or stacked ensemble casts. The movies consistently provide some of the best on-screen styling, whether it’s Daniel Craig playing maybe the best-dressed movie detective ever in Benoit Blanc or Chris Evans’s fisherman sweater that we’re still dreaming about. Crucially, these characters don’t just look good; they’re clothes are consistently used to elevate the story and provide insight into characters.

Consider Evans in the original: his fine clothing all tends to be full of loose threads, holes, and snags. Evans wears them well but the damage to his clothing is intentional, meant to assist in painting the portrait of a spoiled rich kid who never learned to take care of the nice things he grew up with The movies pay careful attention to even the subtlest details, which is why a particular prop in Wake Up Dead Man stands out: a Casio G-Shock DW5600E-1V worn by Josh O’Connor as the film’s protagonist, Father Jud Duplenticy.

The watch nearly blends into O’Connor’s full ensemble, making it even more inconspicous

Courtesy of Netflix

Through Jud (and his blossoming friendship with Blanc) the film explores questions around religion and the institutions surrounding it. Jud stands in contrast to another central figure in the film, Josh Brolin’s Monsignor Wicks. The latter is a charismatic firebrand of a leader, increasingly drunk on power. In their first scene together, Jud takes Wicks’ confession, which begins with a simple admission: Wicks found himself briefly enamored with a convertible Lexus he saw in a commercial. It’s a throwaway moment, but one that neatly tees up one of the subjects the film is most fascinated with: the push and pull between materialism and religion, two concepts that can’t be fully separated no matter how hard we try.

Johnson isn’t solely fascinated with the dichotomous struggle between the human desire for material riches and their journey towards spiritual enlightenment. The director is just as intrigued by the core juxtaposition between what the church–and in this case, the Catholic church specifically–preaches with regard to materialism versus the aesthetics of the institution itself. The film is full of ornamental decor, gold crosses, flowing pastoral robes, and the majestic architecture of the church itself (Blanc calls this specifically to intention, wryly noting that even to a skeptic like him it accomplishes its “desired effect”).

It’s only with Jud that the opulence fades away. His bedroom is sparse (dude sleeps on a twin-size mattress!) and we never see him in anything other than some variation of his work clothes. In fact, it would seem one of the only possessions Jud has to his name is his G-Shock, which he wears throughout the film. G-Shocks are cheap, practical timepieces. They’re durable, accurate, and can endure extreme punishment. You don’t have to worry about scratching a case or dinging up the gold. It’s rubber and quartz, simple as that. A watch of the people for a man of the people.