In the past three years, Sanditon, the TV series based on Jane Austen’s last unfinished novel, has roller-coastered through a dizzying series of ups and downs: the hype (a new adaptation from Andrew Davies, screenwriter of the iconic BBC Pride and Prejudice!); the fizzle (lukewarm reviews, mediocre ratings, early cancellation); the lobbying (by a passionate online fanbase appalled at the unhappy cliffhanger ending); the reprieve (two new seasons, coming right up!); and the as