For example, the NY Times Magazine features this long article by Elizabeth Weil called "Married (Happily) with Issues)" about her attempt to fix her unbroken marriage via narcissistic yuppie self-improvement efforts. It's been among the most emailed articles on the NY Times for most of a week:
I have a pretty good marriage. ... The idea of trying to improve our union came to me one night in bed.... And as I lay there, I started wondering why I wasn’t applying myself to the project of being a spouse. My marriage was good, utterly central to my existence, yet in no other important aspect of my life was I so laissez-faire. Like most of my peers, I applied myself to school, friendship, work, health and, ad nauseam, raising my children. But in this critical area, marriage, we had all turned away. I wanted to understand why. I wanted not to accept this. ... So I decided to apply myself to my marriage, to work at improving ours now, while it felt strong.
I can't possibly bring myself to read the entire article, but let me make a guess: It turns out not to be a good idea.
Tom Wolfe explained it all 33 years ago in The "Me" Decade and the Third Great Awakening:
A key drama of our own day is Ingmar Bergman’s movie Scenes From a Marriage. In it we see a husband and wife who have good jobs and a well-furnished home but who are unable to “communicate”—to cite one of the signature words of the Me Decade. Then they begin to communicate, and there upon their marriage breaks up and they start divorce proceedings. For the rest of the picture they communicate endlessly, with great candor, but the “relationship”—another signature word—remains doomed. Ironically, the lesson that people seem to draw from this movie has to do with . . . “the need to communicate.” Scenes From a Marriage is one of those rare works of art, like The Sun Also Rises, that not only succeed in capturing a certain mental atmosphere in fictional form . . . but also turn around and help radiate it throughout real life. I personally know of two instances in which couples, after years of marriage, went to see Scenes From a Marriage and came home convinced of the “need to communicate.” The discussions began with one of the two saying. Let’s try to be completely candid for once. You tell me exactly what you don’t like about me, and I’ll do the same for you. At this, the starting point, the whole notion is exciting. We’re going to talk about Me! (And I can take it.) I’m going to find out what he (or she) really thinks about me! (Of course, I have my faults, but they’re minor, or else exciting.)
She says. “Go ahead. What don’t you like about me?”
They’re both under the Bergman spell. Nevertheless, a certain sixth sense tells him that they’re on dangerous ground. So he decides to pick something that doesn’t seem too terrible.
“Well,” he says, “one thing that bothers me is that when we meet people for the first time, you never know what to say. Or else you get nervous and start babbling away, and it’s all so banal, it makes me look bad.”
Consciously she’s still telling herself, “I can take it.” But what he has just said begins to seep through her brain like scalding water. What’s he talking about? . . . makes him look bad? He’s saying I’m unsophisticated, a social liability, and an embarrassment. All those times we’ve gone out, he’s been ashamed of me! (And what makes it worse—it’s the sort of disease for which there’s no cure!) She always knew she was awkward. His crime is: He noticed! He’s known it, too, all along. He’s had contempt for me.
Out loud she says. “Well, I’m afraid there’s nothing I can do about that.”
He detects the petulant note. “Look,” he says. “you’re the one who said to be candid.”
She says, “I know. I want you to be.”
He says, “Well, it’s your turn.”
“Well,” she says, “I’ll tell you something about when we meet people and when we go places. You never clean yourself properly—you don’t know how to wipe yourself. Sometimes we’re standing there talking to people, and there’s . . . a smell. And I’ll tell you something else. People can tell it’s you.”
And he’s still telling himself, “I can take it”—but what inna namea Christ is this?
He says, “But you’ve never said anything—about anything like that.”
She says, “But I tried to. How many times have I told you about your dirty drawers when you were taking them off at night?”
Somehow this really makes him angry. . . . All those times . . . and his mind immediately fastens on Harley Thatcher and his wife, whom he has always wanted to impress. . . . And all at once he is intensely annoyed with his wife, not because she never told him all these years—but simply because she knows about his disgrace—and she was the one who brought him the bad news!
From that moment on they’re ready to get the skewers in. It’s only a few minutes before they’ve begun trying to sting each other with confessions about their little affairs, their little slipping around, their little coitus on the sly—“Remember that time I told you my flight from Buffalo was canceled?”—and at that juncture the ranks of those who can take it become very thin, indeed. So they communicate with great candor! and break up! and keep on communicating! and then find the relationship hopelessly doomed.
One couple went into group therapy. The other went to a marriage counselor. Both types of therapy are very popular forms, currently, of Let’s talk about Me. This phase of the breakup always provides a rush of exhilaration, for what more exhilarating topic is there than . . . Me? Through group therapy, marriage counseling, and other forms of “psychological consultation” they can enjoy that same Me euphoria that the very rich have enjoyed for years in psychoanalysis. The cost of the new Me sessions is only $10 to $30 an hour, whereas psychoanalysis runs from $50 to $125. The woman’s exhilaration, however, is soon complicated by the fact that she is (in the typical case) near or beyond the cutoff age of 35 and will have to retire to the reservation.
Well, my dear Mature Moderns . . . Ingmar never promised you a rose garden!
My published articles are archived at iSteve.com -- Steve Sailer
Szukalski’s politics weren’t helpful. In Chicago in 1914, to which his blacksmith father had brought him a half decade earlier, he was training 20 Polish boys in the manual of arms, “So when the time comes they will be ready to go back and fight for the freedom of Poland.” Polish nationalism, however, was not exactly the most career-promoting ideological obsession for a 20th-century artist. To the right is his 
Warhol, in contrast, invented a more consumer-friendly role for the artist in a culture tiring of greatness. Andy pointed out, “Art is what you can get away with.”
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