Every result names a place and a time of day, because a setting without a moment attached is just a location.
A location on its own is inert. An observatory is a building; an abandoned observatory at dawn is a scene, because the time of day carries light, temperature, who is likely to be there and what they are doing awake. Every entry here pairs a place with a moment for that reason. A subway station that closed in 1974 works the same way. The date does the work, turning a location into a situation with a history attached. Settings that arrive with a question already in them are the ones that produce writing.
A well-chosen setting constrains the story usefully. A cargo ship three weeks from port fixes the cast, removes outside help and puts a clock on everything, that is most of a thriller structure before a character exists. A mountain hostel in a whiteout does the same job. This is why setting is worth generating separately from character or plot: pick the place first and a surprising amount of the structure follows, especially for tabletop preparation where the location genuinely is the session.
Because the moment does as much work as the place. A location is inert; a location at dawn implies light, temperature and who is there.
Yes, that is one of the better uses. A constrained location often supplies the session structure before any plot is written.
Settings give you a where and when. Themes give you a premise and a question. They pair well drawn together.