The short film opens with Turner lounging under an umbrella in the South of France, where she gets distracted by a flurry of text messages on her phone, according to ‘People’ magazine.

“On my way. Can’t wait to see you,” reads one message, punctuated by a red heart. With a smile, Turner announces, “He’s on his way,” as she adjusts her sunglasses. “Don’t worry, I’m fully prepared,” she reassures the audience.

As noted by ‘People’, the video transitions to Turner in a kitchen, playfully tossing a lime in the air and catching it. However, she quickly clarifies, “Oh, you didn’t think I was going to cook, did you?” before opting to call for delivery instead, requesting “something fresh and fast.”

Next, she opens a bottle from the liquor brand and pours it into a glass. After perfectly arranging takeout on plates, she turns to the camera and requests, “Let’s keep this between us,” just before the doorbell rings. “Showtime!” she adds.

Turner, who showcases her cocktail-making skills in a how-to video, shared her excitement about partnering with the brand: “I’m thrilled to continue my collaboration with a brand that reflects my philosophy of enjoying the lighter side of life and makes me look good behind the bar.”

She added, “I’m excited to show off my bartending skills in this summer’s sequel. While I may not be a chef, I’ve discovered my signature drink!”

Last year, Turner also starred in another short film for the brand, set in the picturesque South of France.

Suniel revealed that although offers continued to come in after her last project, *Motichoor Chaknachoor*, Athiya made a definitive decision to leave acting behind. “She simply said, ‘Baba, I don’t want to,’ and walked away. I truly admire her for that,” he shared. “She expressed that she was content with her current situation and had no interest in continuing.”

Now 32, Athiya has found joy in motherhood, a role she cherishes. Suniel expressed pride, stating, “She’s playing the best role of her life right now—being a mom. It’s the greatest experience she could embark on, and she’s embracing every moment.”

For those who have followed her journey, Athiya made her film debut in 2015 with *Hero*, produced by Salman Khan. While the film garnered attention, she kept a relatively low profile. She returned to the screen in 2017 with the comedy *Mubarakan*, and concluded her film career (for now) with *Motichoor Chaknachoor* in 2019, alongside Nawazuddin Siddiqui.

Since leaving the limelight, Athiya has gained attention for her personal life rather than her career. In January 2023, she married Indian cricketer KL Rahul in a private yet celebrated ceremony. This year, they welcomed their daughter, Evaarah, on March 24. Recently, KL Rahul melted hearts on Instagram with an adorable photo of himself and Athiya enjoying time with their newborn, sharing the special meaning behind his daughter’s name: “Our baby girl, our everything. Evaarah/इवारा ~ Gift of God.”

How did *Pehla Nasha* come to life?

“*Pehla Nasha* emerged in 1991, during a time when my brother Jatin and I were just starting out. Our first soundtrack, *Yara Dildaara*, hadn’t even released yet. We were thrilled to be invited for a music session with Mansoor Khan, the director of *Qayamat Se Qayamat Tak*, who was working on a new film, *Jo Jeeta Wohi Sikandar*. Eagerly, we prepared for the session. Luckily, our sister, singer Sulakshna, had lent us an 8-track recorder, which allowed us to create impressive demos ahead of time.”

Mansoor Khan was quite impressed with Jatin-Lalit’s preparation. “He appreciated the songs we’d created. Can you imagine the difficulty he faced in choosing new music composers after the award-winning tracks by Anand-Milind for *Qayamat Se Qayamat Tak*? I think he initially agreed to listen to us out of courtesy to a mutual friend. After hearing our songs, he left without committing, but after several meetings, he chose us over Anand-Milind.”

This led to the birth of *Pehla Nasha*. Lalit recalls, “Mansoor wanted a standout romantic song for the film. While Jatin and I had several romantic tracks, when we initially played *Pehla Nasha* live, he felt it was merely satisfactory. I don’t hold it against him; the song didn’t translate well in a live setting. I went back and re-recorded it entirely. We spent two full days perfecting it. On the day we returned to Mansoor, it was raining. He expressed doubts, saying the song felt too slow. Before he could elaborate, I quickly put headphones on him and played it on my Walkman. Being a knowledgeable musician, once he heard our finished work, he was immediately on board. He then brought us to his father, producer Nasir Husain, who also loved it. That’s when Jatin and I truly believed we had secured the project for *Jo Jeeta Wohi Sikandar*.”

Discussing the song’s creative process, Lalit explains, “*Pehla Nasha* didn’t come together overnight. It required considerable thought, particularly the way the piano interlude reappears throughout. It was India’s first slow-rock number. I remember visiting Nasir Husain’s office near Mehboob Studios daily. Composing for a Nasir Husain film was a huge opportunity for us. It felt like a pivotal moment in our careers. We participated in story and music sessions with not only Mansoor but also his sister Nusrat and Aamir (Mansoor’s cousin).”

Lalit adds, “Aamir was a fan of the song. The first track from the album, *Yahan Ke Hum Sikandar*, was programmed by Ranjit Barot in just thirty minutes, which upset our arranger Babloo Chakraborty. He swore he wouldn’t work with us again. We faced challenges as we were short on arrangers with shooting scheduled in Ooty. Politics in the music industry meant even local arrangers turned us down since we were working with Nasir Saab instead of RD Burman. Eventually, Mansoor decided to use the song without an arranger, which turned out to be a blessing for *Pehla Nasha*. Later, Babloo softened his stance, thanks to Nasir Husain. When I sent him the song, he initially criticized the sound, claiming it was worse than a TV serial theme. I stood my ground, maintaining the song’s integrity. Despite his opinions, his kids loved it, and he later called to apologize.”

The crowning moment for *Pehla Nasha* came when “for the first and only time, our recording composed applause from the violinists during the string arrangement. I was moved to tears. I finally knew we had truly created something special with *Pehla Nasha*. Our reputation in the film industry rose. The subtlety of our recording was unprecedented. When Panchamda (RD Burman) heard *Pehla Nasha* at Nasir Husain’s home, he adored it. That was the highest praise we could receive. From that moment, Panchamda started mentoring us, showcasing his generous spirit. I cherish these experiences; they’ve shaped me into who I am today.”