Christmas week, often perceived as a period of quietude and inactivity, proves to be anything but for many, including the insightful observer and actor, Peter Capaldi. Far from the anticipated lull, Capaldi’s diary entries unveil a relatable whirlwind of familial moments, societal observations, and the ever-present anxieties of a creative mind. This glimpse into his week, originally penned for a reflective piece, resonates with the chaotic beauty of the festive season, mirroring experiences shared by many, yet viewed through the unique lens of Peter Capaldi’s wit and introspection.
The notion of a tranquil Christmas break is swiftly dispelled as Capaldi immerses us in the reality of holiday routines. His week commences not with glamorous events, but with the mundane yet universal tasks of supermarket runs and the familiar dread of festive weight gain. This down-to-earth portrayal immediately grounds the narrative, making Peter Capaldi’s experiences accessible and engaging to a broad audience. The humor is subtle, self-deprecating, and instantly establishes a connection with readers who recognize the shared anxieties of the season.
Festive Family Outings and Theatrical Observations
A family trip to see Stomp becomes a focal point mid-week, offering Capaldi an opportunity to muse on contemporary entertainment. His commentary on the show, described as a “discovery” fifteen years after its initial popularity, is laced with irony. He playfully contrasts the percussive performance with the sometimes-overbearing presence of classically trained actors during the festive season, those “very, very serious actors, [who] are also very, very funny ones too.” This observation is delivered with a characteristic dry wit, highlighting a gentle critique of performative seriousness in the arts.
The humor extends to a relatable comparison between the organized chaos of Stomp and the unscripted percussion of toddlers in cafes. This witty analogy underscores Capaldi’s ability to find amusement in the everyday, transforming a simple café visit into a comedic observation on modern life. His reflection on the evolution of the café culture, from a haven for scribbling dreamers to a bustling space dominated by “baby buggies the size of Humvees,” speaks to a changing urban landscape and the subtle losses of personal space in contemporary society.
Moleskin Notebook Musings and Self-Awareness
A seemingly innocuous purchase of a medium-sized coffee triggers a moment of profound self-awareness, quintessential Peter Capaldi introspection. Opening his “moleskin notebook cum sketchpad,” a tool associated with artistic aspiration, he encounters a sea of similar individuals, all seemingly engaged in the same pursuit of creative profundity. This observation sparks a wave of “self-loathing,” a humorous yet poignant acknowledgment of the pressures and clichés associated with creative identity.
Capaldi’s internal monologue then veers into a witty deconstruction of the moleskin notebook itself. He questions its historical authenticity, imagining Van Gogh’s hypothetical struggles to afford such a luxury, and satirizes the modern-day blurb that accompanies it. This playful questioning of artistic pretension and consumer culture is delivered with a light touch, yet it resonates with a deeper critique of manufactured authenticity.
Navigating Fashion and Retail Anxiety
Clothes shopping in Selfridges becomes another source of festive anxiety. Capaldi’s rare solo venture into the world of fashion is fraught with the fear of “very big mistakes,” referencing a past fashion misstep with a Vivienne Westwood ensemble. This anecdote reveals a vulnerability and self-consciousness that contrasts with his public persona, making him even more relatable.
The shop assistants, performing “retro ironic John Inman thing or being Russell Brand,” add to the sense of disorientation and discomfort. His observation about the sheer volume of goods in Selfridges, juxtaposed with global scarcity, touches upon themes of consumerism and excess, albeit fleetingly amidst the comedic narrative of his shopping woes. The physical discomfort of overheating in trouser legs becomes the decisive factor in his retreat, a humorous yet realistic escape from retail overwhelm.
Family Departures and Reflections on Home
The poignant moment of his nephew’s departure from Euston Station introduces a more somber note. Capaldi skillfully juxtaposes the romanticized English perception of Scotland – “Hogwartsy Highland landscape” – with a more grounded reality of “nicotine coloured, featuring high-rise blocks, decaying steel towns, alcohol and pasty-faced youths.” This contrast highlights a nuanced understanding of identity and place, challenging stereotypical views with a dose of lived experience.
The departure becomes a catalyst for deeper reflections on family, duty, and the shifting dynamics of home. The narrative gently touches upon bereavement, with references to the passing of his wife’s father and his own father. The station, a recurring location in their lives due to family commitments, becomes symbolic of changing life stages and the gradual diminishment of ties to a place. This section, while still infused with Capaldi’s characteristic observational style, carries a weight of emotional depth.
Festive Gifts, New Year’s Eve, and Call Centre Frustrations
The diary entry returns to lighter notes with descriptions of “delightful” Christmas gifts and New Year’s Eve celebrations rooted in “deep Celtic tradition and love of alcohol.” These moments of festive joy are interspersed with the relatable frustrations of dealing with modern consumer services, exemplified by a call to Motorola to fix his daughter’s mobile phone.
The interaction with the “Northern Irish guy” in the call center is recounted with comedic precision, highlighting the passive-aggressive “tonally – politely phrased but full of contempt” communication style. This episode serves as a humorous yet sharp commentary on customer service experiences and the subtle power dynamics within them. The resolution – Motorola losing his business – is a small victory in the face of everyday bureaucratic annoyances.
Creative Idleness and YouTube Indulgence
The week culminates in a confession of creative idleness and a humorous comparison with the industrious Michael Sheen. Capaldi’s self-reproach for “doing nothing but eat and drink” is delivered with characteristic self-deprecation. He attributes his procrastination to the allure of YouTube, confessing to spending “two hours watching dozens of videos of guys playing along to the guitar solo from ‘Stairway to Heaven’.”
This indulgence in online content is framed as “better than most I’ve spent in the theatre,” a playful jab at high culture and a celebration of accessible, online entertainment. The concluding thought – “I’m sure if Shakespeare were alive today, he’d be doing classic guitar solos on YouTube” – encapsulates the diary’s blend of wit, cultural observation, and self-aware humor.
Peter Capaldi’s week, as revealed through his diary, is a microcosm of festive life – a blend of mundane tasks, family moments, societal observations, and personal reflections, all delivered with a distinctive voice that is both humorous and insightful. It’s a portrayal that resonates not just as a celebrity diary, but as a relatable human experience, amplified by Capaldi’s unique perspective and engaging narrative style, offering a compelling glimpse into the world through his eyes.
The Life: Born in Glasgow 1958. Studied painting and illustration at the Glasgow School of Art . Married to Elaine; daughter Cissy.
The Work: As an actor, many film and TV appearances, including Local Hero, Dangerous Liaisons, Magicians on TV, Prime Suspect, Peep Show, The Crow Road, Aftersun, Pinochet’s Progress, The Thick of It. Wrote and directed the feature film Strictly Sinatra and Oscar-and Bafta-winning short Franz Kafka’s It’s a Wonderful Life.
