Just making a list of these because I'm going to teach a class on this....
Another myth of Deep POV-- that letting the reader feel with the character, feel what the character feels, is always good.
Usually it is. But sometimes what the reader is feeling has to be different from what the character feels, and that probably requires some distance. For example, suspense is often dependent on the reader feeling dread as the character unwittingly stumbles into danger. If the reader is truly confined to the character's understanding, she might not get that sense of dread and hence the gathering suspense.
A fun aspect of reading is the doubling effect that's caused when the reader can simultaneously feel with the character and still have the distance to feel something else, an alternate emotion that's created not by the character but by the scene as a whole. It is possible to create distance and simultaneous and conflicting character/reader emotion while using deep POV, of course. Remind me to suggest some ways to do this. However, sliding up and out of deep POV into a more omniscient POV -- maybe especially if you've usually been one with the character-- can kind of signal to the reader to feel separately right here. That will help create that wonderful effect, where the reader is yelling, "Don't open that door, you idiot!"