The conversations continue in roughly parallel.  Of the two, the daemon conversation is more likely to trail off, then pick up again on a detail of the human conversation that Araeneve wants to expand on.  Eventually, Araeneve mentions that they could use a break from talking for a while, and Verity wants to try out the local entertainment media to better compare them.  

And a break shall be had, but is Madoka's attempt to emulate the daemon half of things helpful and/or worth continuing, in Verity and Araeneve's opinion?

They find it helpful and pleasant, though not quite in the way that speaking with another daemon is.  If it's not too much trouble they would like to continue speaking this way.  Daemons on the fleet who don't speak to humans other than their own won't be interested, but the others who do will probably also find it helpful.

Oh good!

Not everyone can multithread as casually as Madoka, but every mage in the room and most mages onboard are at least capable of it.

Madoka makes a handful of recommendations for shows/movies/sims/etc. that she has a vague intuition that Verity and Araeneve might like, and wishes them a pleasant idyll.

They can try them out, and note the local genre conventions and tropes.  Movies are much better when they have better sets and technology for special effects.  Does any of the interactive media have support for two bodies at once?

Typically, any of the media that involves using their bodies directly can handle that no problem, though there are exceptions in design, if not in capability.

One of the recommended movies is described as a "dramatization of true events" about a certain child prodigy, with a name Verity and Araeneve will recognize, and her heroic role in the catastrophic Book of Darkness Incident. It won an award for cinematography, and the top positive review is glowing. The top negative review stands mostly alone, and appears to be... some kind of angry rant about one of the character's hats?

They go through the suggested lists, taking note of their favorite parts.  The thought of historical dramatizations involving probably-still-living people makes her uneasy, though the interesting event and fact that it's history she'd be expected to know living here is enough for her to give it a try.  She enjoys the movie, and in particular avoids getting upset at the character's hats.

There isn't anything noticeably wrong with any character's hats, such as they are. Maybe that reviewer had a grudge.

The story is thus:

There is a planet, called Earth by the locals, with a pre-magic civilization hanging on the edge of the leap to post-scarcity, where an unremarkable wheelchair-bound schoolgirl named Hayate Yagami is given one of the most dangerous Lost Logia in the multiverse.

Inside the Book of Darkness are four immortal weapons, artificial warriors, horror stories of Ancient Belka. But, shaped by the will of a lonely young girl, they become people. For a time, they are happy together, but Hayate's health is now tied to the Book, and the Book hungers. Left alone, the Book will slowly paralyze Hayate, until she dies of suffocation or heart failure.

Believing that sating the Book will save Hayate, the four knights deceive her for what they believe to be her own good, hunting magical beasts and mages; defeating them, and then ripping their souls out surgically removing their linker cores to feed the Book.

Meanwhile, another young girl, a powerful mage named Fate, has completed her mandated rehabilitation and is returning to Earth with her new adopted family, the Harlaowns. She reunites with the titular Nanoha Takamachi, and tears and hugs and smiles are had.

Of course, being the two most powerful mages on Earth by a fair margin makes them obvious targets for Hayate's knights. A spectacular battle rages across the city of Uminari. Nanoha and Fate are defeated.

Thus begins the investigation, and the nigh-happenstantial meeting between Hayate and the other two girls.

It all comes to a head, the building tragedy masterfully revealed: there was never any saving Hayate, for the knights. The Book was going to kill her no matter what, and her knights have been hunting and hurting people behind her back for nothing. The Book itself "wakes up" and possesses Hayate, transforming her and using her to re-absorb the broken knights and carry on the hunting. It is here that it is revealed that there was a fifth knight all along, fighting to protect Hayate from within the Book. Her name is Reinforce, and she was the Unison Device upon which the Book was originally based.

But Nanoha and Fate aren't down and out, not yet. They've healed, they've recovered, they've learned, and Nanoha faces the avatar of the Book in single combat, in a spectacular battle that destroys a continent of Exclusion Barrier terrain. Fate hacks into the Book, and struggles with its mental defenses, her deepest hopes and fears laid bare and used to tempt or torment her, in an attempt to free Hayate. And ultimately, they both succeed.

Hayate is separated from the Book, now ascended to her own power, and what's left of the Book turns into an extradimensional self-replicating death swarm in desperation. The three girls wrangle the cosmic horror and blast it into orbit, where the dimensional cruiser Arthra (the same make as the one Verity is on, actually) captained by Fate's adopted mother Lindy, deploys its primary weapon and obliterates the planet-eating swarm before it can eat any planets.

Hayate's first four knights get revived, but Reinforce gets a tear-jerking death scene. Hayate cries in Nanoha and Fate's arms, but that very act is a seed of hope for the future. (Indeed, there're production photos during the credits showing the real Hayate, Nanoha, and Fate, in their late teens, posing happily together; they look the same as the movie versions, only older: there is a note that they gave permission to use their true likenesses rather than the actor's faces.)

Wow, the... make-up work?  CGI?  Facial rearranging? - is really impressive.  

How long ago did this happen?  This seems like a good time to put on some of the local music and skim some articles to try and fit things into a historical context.

It was done with a simple deepfake. And the events in the movie apparently occurred just over fifteen years prior.

Nanoha Takamachi and Fate Harlaown and Hayate Yagami have all had decorated careers since those early days. Nanoha is now a flight combat instructor for the TSAB Air Force. Fate is a renowned detective with the Enforcers. And Hayate is now a General in the Capitol Defense Force. The phrase "meteoric rise" was seemingly made for these three.

And, of course, Fate and Nanoha now have a daughter, Vivio, from the Saint's Cradle Incident. They are by all accounts now a quite happy family.

Meteoric or not, it's good to hear that people can go far within fifteen years.  

This leads her down a few more tangentially related searches, then back into her recommended media.

A few hours later, an announcement from the captain goes out, ship-wide: All hands, be alert. For the next ten minutes we will be engaged in deep-axis maneuvers. Mild dimensional turbulence is expected.

Eelesia shows up at Verity and Araeneve's cabin at the same time, greeting them with a, "We found them!"

"That was fast."  She gets up and prepares to follow Eelesia to wherever they're expected to be.

To the bridge, preferably.

"So, you are, in fact, from a universe very 'far away', it turns out, but not so far that we can't get there."

Soft groans of metal and creaks of shifting hull warble faintly through the corridors, and the air itself subtly ripples, barely-felt shifts in gravity like a thousand tiny tides.

"Your universe is in a region of the totality that the TSAB has never actively explored before, but it had already been mapped, so now we just have to navigate there. That'll be much faster."

The view out the massive 'window' on the bridge is... decidedly more kaleidoscopically psychedelic than before, colors without names screaming past in a storm of chaotic shifting patterns that almost seem to ripple tangibly into the cruiser's interior itself.

As long as no one else is panicking about it they will assume it's normal.  It's not like they could do anything if it wasn't.

Eelesia is waving her hands through and swaying with the dimensional turbulence, playing with the ripples like a little kid. This is actually the first occasion she's had to feel them for real, and she's fascinated.

Remaining close together, Verity and Araeneve watch the chaotic colors.  After a minute, they relax.

"This is the dimensional turbulence?" Verity asks, running a hand through a section.

Eelesia nods enthusiastically.

"I've never been deep enough in the dimensional sea to feel them in person before! It's freaky, literally touching something that should shred our flimsy threespace matter to the quark, and knowing we're safe thanks to some really neat active support techniques."

The crew is old-hat at this, but the captain does smile nostalgically at Eelesia's enthusiasm.

"How many layers down are we?"

When Eelesia turns questioningly to the captain, she says, "Sixty-three-thousand, two-hundred twelve."

"Right! Can you even wrap your head around that? I can't even. A modern dimensional cruiser is a twelve-dimensional object protected by a Barrier Frame, with three dedicated axis of support for each of our measly three cabin-space dimensions. We could park on neutron star or crash through a moon without even the slightest jostling. But right now we're... you have to scale it down to even think about it. Imagine a sheet, made of flat, two dimensional atoms, so that the whole thing has the thickness of a quark, but it lives in a universe that is just as as small, on that third axis, so the bounds of reality itself keep everything squashed into the same plane where forces can only act on the sheet in the directions where it has substance; exposed to our three-space, it would be so incredibly fragile that it would not only rip apart but discorporeate instantly at the slightest perturbation. And that's the difference between two and three. We're standing in the difference between three and sixty-three-thousand and we're still here!"

"That does sound like a lot.  And the ship can go to 10 million?  Or was that a different unit?"  

Verity tries to consider it for a moment, before thinking better of the idea.  She doesn't especially like the thought of living on a spaceship in normal space even after 20 years of getting used to the safeties and redundancies.  There's a reason she avoided the stargazing platforms most of the time.  Still, she does try to enjoy whatever remains of the ten minutes the turbulence is expected.  Watching everyone else being calm helps.  

It was the same unit: number of spatial dimensions.

And then, "Lock achieved, surfacing now."

The kaleidoscopic chaos shifts, the turbulence fades out to nothing, and then, finally, the smooth eldritch colors of the shallowest dimensional sea rip apart to reveal familiar stars. A tiny HUD box appears on the window, and then expands to ten meters across, magnifying its contents as it grows.

It's the fleet.

The four largest ships all look fairly similar to each other, rotating cylinders a little over three kilometers long and covered in thick plating.  More ships, smaller and of more varied designs, attach to the larger ships like remoras in two encircling bands.  The ships drift along at their sub-light pace, slow and solid like tortoises.