Will "Saving the gorilla" become the "jumping the shark" of music?

Wow, I forgot how great that album cover is.

1) "Saving the Gorilla" as impossible Kiekegaardian-absurd chance for redemption from past self-sabotage. The upshot being you can only save the gorilla if you've already jumped the shark. Possible subrequirement: that the shark-jump have occurred in the context of a well-along fade, such that the fact of the shark-jump is cloaked in obscurity. This could make the true gorilla-save still more rarefied--a redemption whose necessity is only generally recognized in the moment of redemption.

2) "Saving the Gorilla" as last-second, God-opens-a-crack-in-reality chance to avoid jumping the shark, manifested in the very moment the jump begins. Though already committed to fatal forward movement, some unknown agency provides a sudden lateral option--the literal to metaphoric vision of a gorilla to save (and thus save onself).

The second theory rests largely on our memory of Happy Days. If we're right--and the actual shark-jump wasn't completed until the second half of the two-part episode--this would mean, had Arthur Winkler been afforded such mercy, part two would've begun, inexplicably, with a relieved Fonz hanging out with a gorilla (and perhaps a similarly relieved Adam Ant), recapping the missing frames a la the finale of the Python "Cycling Tour" episode.

"Well, they'll never believe how we got out of that one!