It was almost four years ago that I first noted in print the possibility of a turnaround at Showtime, the premium cable network that has since become home to such critically acclaimed series as "Weeds," "Dexter" and "The Tudors." It was mostly wishful thinking on my part that when a new management regime took over, Showtime would find a way to shed its also-ran image.

What I could never have predicted was how the mighty HBO would stumble at the same time Showtime gained momentum.

HBO's missteps in recent years have been well-documented: "Lucky Louie"; canceling "Deadwood" without offering fans a conclusion; allowing "Entourage" to overstay its welcome; giving David Milch carte blanche to create the too-weird-for-its-own-good "John From Cincinnati"; failing to find a successor to "The Sopranos" with similar popular appeal; going overboard on shrink dramas with "Tell Me You Love Me" and "In Treatment," which followed on the high heels of Dr. Melfi in "The Sorpanos."

That's not to say HBO hasn't had its successes. "John Adams" was a worthy miniseries, and "Flight of the Conchords" gained a cult following that's likely to build when it returns. But HBO's time as belle of the premium cable ball began to expire even before former top executive Chris Albrecht departed last spring following a well-publicized domestic dispute in Las Vegas.

Albrecht's exit set the stage for internal turbulence. HBO has always taken its time in developing new programs -- "Carnivale" took several years to get on the air -- but last year's executive shake-up further complicated matters.

Actress Tracey Ullman mentioned last month that her decision to launch a new series at Showtime was driven in part by the fact that HBO, her former network home, was in flux and "wasn't the easiest place to get a decision made."

HBO's problems aren't just a matter of media insider gossip. Even subscribers have taken notice. Al Wikowski, a 45-year-old inventory auditor from Lawrenceville, made this observation when filling out his ballot in the Post-Gazette's Keep or Cancel? poll: "HBO has gone to hell with just 'Big Love' and 'Real Time' left as quality. Showtime has taken over for HBO in quality and cutting edge."

Adding to the perception that HBO has lost its way, the writers' strike has delayed until fall the return of "Entourage" and the premiere of Alan Ball's vampire drama "True Blood." Movies will air in place of HBO's signature original series on some Sunday nights this summer. No premiere dates have been set for new seasons of "Big Love" or "Conchords."

Against this post-"Sopranos" backdrop, I was optimistic that HBO might find its way back to programming prominence with the comedy series "12 Miles of Bad Road," starring Lily Tomlin as matriarch of a Texas family. HBO showed clips of the series on-air and at press tour last summer, and it looked promising, like a comedic "Dallas." "Bad Road" certainly has decent pedigree: It comes from producers Harry Thomason and Linda Bloodworth-Thomason, the team behind '80s hit "Designing Women."

So I was surprised and disappointed last month when news broke that HBO canceled "Bad Road" after filming six episodes and reportedly spending more than $25 million on the project. In addition, Carolyn Strauss, HBO Entertainment president, departed her post. The combination of those developments made HBO appear to have an empty pantry and be rudderless.

After the "Bad Road" cancellation, the Thomasons began sending critics the completed episodes. Theories for the cancellation abound: With the Bush administration ending in January, a Texas-set comedy would quickly grow stale; HBO doesn't appreciate Southern humor; the comedy was too broad for the highbrow network.

Having watched all six hours of "12 Miles of Bad Road," that last rationale can be argued, but wouldn't someone at HBO have noticed the show's tone after the pilot and before spending millions on subsequent episodes?

Similarly, if you're a network with just a few hours of original programming each week and you already have one family franchise show (the superior "Big Love"), why order a second? (Of course, this is the same network with three shrink shows, so repetition may not be an issue.)

Bloodworth-Thomason said the cancellation was due to the regime change at HBO in the past year. Supporters of "Bad Road" left the network, and HBO co-presidents Richard Plepler and Michael Lombardo either didn't understand the material or feel it fit the HBO brand. (An HBO source blamed the show's demise on a difference in creative vision.)

While "Bad Road" is not a typical HBO series -- it's not groundbreaking or a show to slit your wrists by -- there may be value in broadening the increasingly dark HBO brand. While I can admire artistic aspects of "In Treatment" and "Tell Me You Love Me," I have no desire to watch those morose, depressing programs.

"Bad Road" has its problems -- there's way too much exposition in the first 10 minutes of the pilot -- but the cast is fantastic. Tomlin and Mary Kay Place, as sisters and partners in a Dallas real estate firm, deploy Bloodworth-Thomason's smart, funny rants with a knowing glint.

Tomlin's Amelia prizes propriety, something that's in short supply among her ill-behaved brood, including a daughter-in-law who wants to buy a helicopter for her megachurch's pastor.

"I wish I could be sympathetic," Amelia tells her frustrated dim-bulb son (Gary Cole), "but that's what happens when you attend church at Six Flags Over Jesus."

"Bad Road" may not be edgy in the traditional HBO sense, but I did find it entertaining, and, after getting accustomed to the tone in the first few episodes, it eventually became an addictive comedic soap. It's easily a show I would look forward to watching on a weekly basis, more so than some of the depressing, more challenging HBO series that are still standing.

Bloodworth-Thomason told me this week that Sony Pictures Television is interested in taking over production of "Bad Road" if a network can be found to air the series. Talks with one network suitor are ongoing, but questions remain if HBO will allow that network to pick up the show. After all, if "Bad Road" becomes a hit for another outlet, HBO looks like it had poor judgement. But HBO executives' egos and brand protection aside, the work of the "Bad Road" cast and crew deserves to be seen.

HBO is in a down cycle, but it's possible for the pay-cable network to get back on track. It's still the dominant premium channel (HBO has 28.9 million subscribers compared to 15.5 million for Showtime, according to Media Week), and fans will flock to "Big Love," "Entourage" and "Conchords" when those shows return.

Still, it may take time for HBO to find its footing. After all, it's been four years since the glimmer of a turnaround at Showtime was first evident, and Showtime tends to move more quickly on projects than lumbering HBO.

HBO made its first steps on the road to recovery this week, replacing Strauss. On Wednesday HBO named Sue Naegle, former co-head of the television department at United Talent Agency, as its new Entertainment president, overseeing all series programming and specials.

Now Naegle has the difficult task of repairing HBO's reputation -- both in Hollywood and with viewers.

The New York media gossip mill was atwitter this week with reports, denied by CBS, that Katie Couric will exit as anchor of "The CBS Evening News" before the end of her contract in 2011.

Why are tongues wagging about this? First, it's been rumored before. Second, the "Evening News" ratings are awful, so it only makes sense that network executives would consider a change.

Maybe it will happen, maybe it won't. With few viewers watching Couric, it's unlikely many Americans care what she may or may not do in the future.

If you haven't voted yet, now is the time to cast a ballot in the Post-Gazette's annual poll, Readers' Remote: Keep or Cancel? You can access it at post-gazette.com/tv and vote for the series you'd like to keep and those you would choose to cancel. We'll publish the results in a few weeks.

In this week's Tuned In Podcast, Post-Gazette restaurant critic China Millman and I discuss two of our favorite shows that are back with new episodes ("Battlestar Galactica" and "30 Rock"), and Millman previews a column on food-themed TV shows. Subscribe or listen at post-gazette.com/podcast/.

This week's TV Q&A responds to questions about "Monk," "Deal or No Deal" and the identity of an early '80s series. Read it at post-gazette.com/tv.