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Notes -
I can think of a lot of potential narrative fixes that could work, if they'd been integrated properly into the movie we all saw. Like, they're in a super-weird region of space with anomalous hyperspace physics; they didn't want to go in there in the first place as the localized threat of hyperspace collisions makes it near-suicidal, but they had no other options and the imperials are arrogant enough to follow them in. Or the super-cap imperial ship has some sort of experimental, super-powerful hyperspace jammer and hyperspace ramming is a unanticipated side effect, or when they infiltrate the supercap they tweak its hyperdrive to create a resonant frequency with the cruiser, allowing an otherwise impossibly-precise ram jump to be programmed, etc, etc... But the common thread of all these is that they establish an explanation for why this is going to be a one-time thing, because it really, absolutely has to be a one-time thing or else all space combat in the setting breaks forever.
The problem is that the movie that we actually got does none of these, nor does it really leave room for anything like them in the story as delivered. I like to think I'm something of a storyteller myself, and technobabble is a thing I've done before. I don't think the issues raised by the holdo manuever can actually be technobabbled.
Authors can make that suspension easier or harder, though, based on what they write and how they write it, and this is a big part of the difference people perceive between good and bad writing. There's a degree to which "I suspend my disbelief willfully, until I don't" is a fully general answer to any complaint about any element of any story, no matter how incongruous or poorly thought out.
Give me a scene where the whole focus is on the tragic death of one of the main characters, and then two scenes later they're suddenly alive again and the story carries on as though nothing happened, and this is never explained or addressed again. Maybe this is some super-subtle 3d-chess thing where the death is supposed to be read as metaphorical, or maybe the author is intending this as a demonstration that something else is going on behind the scenes; maybe the world is actually a simulation. Funny Games did something like this by injecting blatantly incongruous, nakedly-unjustified cartoon logic to abruptly reverse a pivotal character death, very clearly on-purpose and with an obvious narrative intention. The problem with the holdo manuever is that it's very nearly as disruptive to the story and setting as a character literally re-winding another character's death with a VCR remote, and the disruption is never addressed; there's no evidence the authors even understood why it would be disruptive. To the extent that "bad writing" is a meaningful category, this is about as central an example as I've ever seen of bad writing. It makes suspension of disbelief hard enough that there doesn't seem to be a point in trying; if I'm going to have to rewrite the whole story in my head anyway, I might as well do that from the start and just write my own from scratch.
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