Katie, I totally hear you. I have exactly the same issues and (self-imposed) pressures. I highly recommend a few things, some of which repeat what has been said:
1) Like others have said, always look at your negs or contact sheets before you go in and decide what you're going to do with your precious dark time before it begins. You can do the review late at night, even when you're tired, when your kids are around, etc, and make your decisions then. This makes your darkroom session less hurried, more efficient, calmer, more fun. AND, most important, you can always change your mind once you get in there since you're in charge! But having a plan before you start -- a limited plan -- is very calming.
2) Have different kinds of sessions at different times, all contributing to the culling that is THE most important part of being a photographer, according to me. Sometimes I just process film and then make contacts if I can. (I make contacts of everything bcs it's much easier to do the review at off times). Sometimes I just make contacts if I have a bunch. Then I have another type of session where I just print proofs of some selected negatives, always on RC paper at 6"x9" on 8x10, as fast as possible, mostly just to see what this neg is going to look like at a decent size. These sessions are great because I can come out of a 3 to 4 hour session with maybe 20 prints to look at later and evaluate. Most of them get tossed or set aside to be checked again. A very few make it to the next stage, a fine printing session where I work on one or maybe 2 or, at a stretch, 3 negatives that have passed all the other tests and have real concrete immediate purpose: framing in the house, for a gift, for a portfolio project that's part of a series. For me FB paper and its time consumption is only worth it for these very special negatives. (I'm not a tonality or sharpness guy; I'm a content guy!) Maybe 1 or 2 images per 3 or 4 rolls for me. Sometimes I also do a session of 5x7 FB prints of family stuff for scrapbooks etc. I find this is a good way to do nice b&w family stuff quickly.
3) Shoot less and work in series! When not doing family snapshooting, or shooting something that is just screaming at me, I pretty much limit my shooting to an ongoing series that may someday become a portfolia, gallery show, book, etc. This helps me focus on what is important to me about what I shoot and keeps me from having so many single images that just don't belong in my own collection of work. As I say, I'm a content/art guy, not a process guy. Now the problem with this is that I have too many series that I'm working on, but that's just my lack of focus and multi-faceted interest in this old sad beautiful world!
4) Family stuff and snapshooting, i often simply shoot in color, (cheaper Fuji Superia or Portra for really nice light or important moments that I see coming). This stuff I can drop at the lab and have back negs and scans in a few hours. Much of that stuff is just shared on the web, flickr so I dont' go much further with it. And it still has that beautiful look of film! And if somehow I get a beauty out of this, I can have a big drum scan made and printed by the lab and boy you wouldn't believe the tones and colors out of those scans printed wet by a lab (chromira)!
5) Sometimes I can't get to the darkroom for a while, so I scan negs (gasp!) and proof them for later printing that way. This helps me feel connected to my work and also keeps me aware of how beautiful and different wet printing is.
I wish I could get in the darkroom 3 times a week like someone mentioned. But I can't, so all these things help me with the way I work.
6) Love it and have fun. We're all very fortunate to have the time and money to spend even a few hours a week in the darkroom. Most of our fellow humans couldn't even imagine it!
PS: 7) Don't worry about feeling that "this is all I got for 3 hours feeling." It really never goes away! That's where the love comes in.