Against Jessie’s wishes, Zuri and Emma watch a scary movie about killer dolls. Zuri consequently ends up having nightmares about dolls and can’t go to sleep, seeking refuge in Jessie’s room. Jessie helps Zuri confront her fears by revealing her own – due to an incident at a Texas circus in which an elephant was tied to a port-a-potty, Jessie is now afraid of outhouses. In order for them to conquer their fears, Jessie and Zuri must face them head-on.

Meanwhile, a girl (played by Grace Kaufmann) that Ravi likes falls for Luke instead . Incensed, Ravi challenges Luke to a duel as Bertram tries to win a radio contest where the grand prize is a trip to a famous opera house in Italy (or so he thinks).

Undoubtedly the most memorable part of this episode were the Jessie and Zuri dream sequences. The “duel” between Ravi and Luke wasn’t bad either.

Morgan and Christina are vacationing in Bali and send for a private jet to pick the rest of the family up (including Bertram and Mr. Kipling). Mid-flight, the plane experiences trouble – and the pilot bails out! It’s up to Jessie to not only safely land the plane but to keep the family together as they wait for help to arrive even as she gets sick from a nasty bug bite – and that’s on top of avoiding a monster come to life from Luke’s comic (sorry, “graphic novel”) that may be inhabiting the island! Meanwhile, Mr. Kipling may have found a significant other lizard that might make him stay on the island forever.

This episode is likely very well-remembered and regarded by the fans, though Debby Ryan’s acting “silly” (particularly after she had been bitten), the unusually elaborate sets (for a Disney Channel show) and the sheer over-the-top silliness of the episode overall may have more to do with that than anything else. Nonetheless the episode has an undeniable charm and Debby’s contribution goes very far with that.

Jessie has a chance to produce the new school play titled “Grenade to the Heart” about a young Texan girl named Josie who is abandoned by her soldier boyfriend. Luke immediately auditions for the lead male role – and is shocked to learn that none other than “Creepy” Connie Thompson (reprised by Sierra McCormack of “A.N.T. Farm” fame) is also auditioning for the role of Josie. However, Connie assures Luke that she’s completely over him – even though accidents and other mishaps keep happening to all the other actresses auditioning for the lead. Things come to a heated and literally firey conclusion as Connie lets slip her true feelings about Luke during the play’s opening night.

Meanwhile, Zuri must write a report about a person and his or her career field for school. She decides to follow Bertram around because she thinks it will be an easy assignment since Bertram doesn’t do anything. However, Bertram wants to prove to her that being the Ross Butler is hard work – which leads to a competition between Zuri and Bertram to see who can be the better butler.

This is quite likely the most memorable episode in the series’ run so far, and Sierra McCormack is undoubtedly a large part of that. She and Cameron Boyce have terrific chemistry (or perhaps anti-chemistry in this case) on set and play off each other extremely well. The script also doesn’t play around when Connie’s obsession with Luke finally comes to a head and makes for an exciting climax.

Jessie auditions for a role in an episode of a cop show that will be filming in Central Park. She brings Zuri along, and during auditions she runs into Officer Petey again (played by Joey Richter, as last seen in Episode 117 “Bad Fellas”) who is also auditioning for the show. When Jessie auditions, she nearly gets the role – until Zuri comes in and impresses people instead. Zuri and Jessie must either reconcile or compete with each other in order to be on the show – or will Officer Petey get the last laugh?

Meanwhile, Ravi plays in the kitchen’s dumbwaiter and ends up being lost in the walls. Luke goes after him – only to get lost himself, leaving Emma to the rescue. As they try to rescue themselves, they stumble upon a dark secret hidden inside the penthouse’s construction.

Another decent episode with another brief but good performance from Joey Richter. The highlight of the episode, however, was in seeing Ravi, Luke and Emma navigate their way through the walls of the penthouse.

The anniversary of Zuri’s adoption has arrived, which is celebrated as her “gotcha day” in place of her birthday. Jessie stresses out about making Zuri’s “gotcha day” perfect, and arranges to have the terrace decorated like the African savanna to remind Zuri of her original Kenyan home. However, Zuri tells Jessie that she just wants to have a normal birthday party, which causes Jessie to freak out. While talking about Zuri’s “gotcha day,” Luke and Ravi talk about the day they were adopted. Emma tells Jessie that Luke still believes he’s from Krypton, but when Ravi tells Jessie that Morgan and Christina got Mr. Kipling a baby crib, Jessie figures out it was originally meant for him – and that they thought Ravi would be a baby. Ravi becomes upset because he now believes that his adoptive parents really wanted a younger child, and Jessie is left to clean up both this mess and the literal one from Zuri’s party. Meanwhile, mysterious messes keep getting created all throughout the penthouse, to Bertram’s dismay.

This episode was very average but still enjoyable. The highlight was certainly Luke’s retelling of his adoption and Emma’s reaction. The discovery of the cause of all the messes was funny as well, if not a little confusing perhaps because that plotline wasn’t fully thought or carried through.

Jessie consoles Zuri over the death of her imaginary friend Milly the Mermaid (which Emma fails to take seriously). Jessie figures that this must be Zuri’s way of letting go of her imaginary friend and consequently, growing up, so she thinks it best to play along with the funeral. In the meantime, Mr. Kipling starts to act strange, so Jessie and the kids start to follow him. They soon learn that his secret may really be her secret, one that they must protect from an over-zealous chef specializing in egg-based dishes.

The “B-plot” had some sweet moments but was overshadowed (in screen time if nothing else) by the primary plot, which was silly and action-oriented and overall satisfactory.

Jessie is invited to a Halloween party by Tony, who mentions that a magazine editor will be there. Jessie rushes to finish a short horror story she had been working on, about two zombies who fall in love. Simultaneously she’s also trying to meet everyone else’s Halloween demands, and stays up all night, becoming sleep-deprived in the process. The Ross kids go trick-or-treating in the Fairfield building by themselves unsupervised – when the don’t meet their curfew and threaten Jessie’s ability to get to the party in time, she becomes enraged and tries looking for them. Unaware of her sleep-deprived state, the kids think she’s been possessed by the ghost of an evil nanny who haunts the Fairfield, as told by a mysterious bellhop (played by Meshach Taylor) whom the kids have never seen before.

This episode was high on gag-based comedy but ultimately a little too silly and a little too over-the-top to really be able to enjoy. Then again, over-the-top silliness is a proud tradition for a Halloween episode on Disney Channel.

It’s Emma’s first day of high school, and she quickly befriends another new student, Rosie (played by Kelly Gould). However, Rosie – who comes from a poor family in New York City’s slums – proves to have a very conflicting world view and outlook compared to Emma’s extremely pampered lifestyle. While Emma is obsessed with fashion and stylish couture, Rosie is busy organizing protests against corporate greed and pollution, and takes aim straight at the bourgeoisie lifestyle Emma has grown comfortable in. It all comes to a head when the two must team up for an art project, and Rosie’s headstrong fight against conformity may also trample Emma’s feelings in the process. Meanwhile, Luke barely avoids becoming a social outcast himself when he discovers Kenny the Koala accidentally stuffed into his backpack, for which Ravi takes the heat (and spitballs) for. Luke must decide whether or not sacrificing his own social standing is worth Ravi’s and comes to Jessie for help – all the while she is trying to make Zuri do her homework.

As would happen in the next episode, “Green-Eyed Monsters,” the “A-plot” ends up overshadowing the other plots (which are so many they end up diluting themselves anyway). Peyton List and Kelly Gould end up being a great couple on-screen, and how they end up in conflict over differing views and an art project turns out well-written and acted. The resolution is also well-written and actually heartwarming.

Ravi becomes exhausted when he tries to care for all of Mrs. Kipling’s babies. He blames Jessie for not living up to her contract to care for all of them; however, Jessie discovers that she is only responsible for Mrs. Kipling – and in the process discovers that she’s entitled to days off, which she promptly uses to go on a date with Tony. However, Officer Petey (reprised by Joey Richter) happens upon them and intrudes, stealing Jessie’s attention. Meanwhile, Zuri tries to prove to Ravi that taking care of the lizard babies is an easy task and accept’s Ravi’s payment of two dollars an hour. The lizards quickly prove Zuri wrong, and Zuri tries desperately to hide the fact from Ravi. Officer Petey invites Jessie into his improv troupe, incurring Tony’s rage. Tony soon drags Emma into trying to see what makes Officer Petey appealing to Jessie as they stake out the improv club.

This turned out to be a very solidly written episode, perhaps one of the best the entire series has to offer thus far. It’s very clear that there is a lot of sparking on-screen chemistry between no less than three players – Debby Ryan, Chris Galya and Joey Richter (and even arguably Peyton List, for her rather small contribution) – and the episode milks it for all its worth to good effect. The “B-plot” is entertaining, but quickly gets overshadowed by the  overwhelming strength and screen time of the primary plot.