Honestly, I feel like part of the production rationale for holodeck episodes was basically a more plausible version of why TOS had planets dominated by gangsters, Nazis, and Romans. There was all this period crap hanging around the Paramount lot, and it made for relatively cheap production. For the writers, it was fun because it allowed them to experiment with alternate genres which would have been awkward to shove into Trek otherwise, like westerns, romances, detective stories, spy movies, sports drama, etc. I think some of the actors liked it too, because it allowed for them to be campy and act outside of their character's normal range.
As to the drama, it's important to note that not every holodeck episode was based upon the safeties failing, or being trapped in the simulation. Still, ultimately as was noted, the stakes aren't any different from a normal episode, where the ship/station faces some sort of "anomaly" or malfunction which stops the normal smooth process from going forward.
I think DS9 did the holodeck the best, since it was mostly unseen except for Our Man Bashir and Vic Fontaine's episodes. That said, DS9 had its own avenues for escapism (MU episodes, and to a lesser degree Ferengi episodes), so it didn't have to rely upon the holodeck to break up routine.
I hate it when it's used to merely change settings. I love it when it's used to explore the concept itself.
I like Dixon Hill, because he gets to relax more than Picard ever does on duty.
And I feel that dramedy tends to offer, ahem, the best of both worlds.
Kor
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