I don't really know how mired filter values work, but I can answer your question in terms of Wratten #s.
I find the following are ones I am "always reaching for:"
1. 80A - For indoor shooting mostly. Because the main type of artificial light that I use for shooting things indoors is 3200K Photo Floods. I also use it for shooting night cityscapes on daylight film. No filter is perfect for that purpose (mixed artificial lighting), but it helps a bit with those orangey street lamps (are they "sodium vapor?) and peoples' windows, porchlamps, etc.
2. 81A - General purpose mild warming filter. If it is convenient, I will use it outdoors if the weather is patchy (can make for blueish pix). I also use it with the 80A and Photo Floods sometimes for a little more warmth.
3. 85C - I don't use this to use tungsten film outdoors, but to compensate for very blue light, like any time that the blue sky is the main light (e.g. in open shade). It helps a lot when printing neg film, though most people would say it is only a necessity with transparency film.
4. 82A - I use it stacked with the 80A when using household bulbs instead of Photo Floods.
5. FL filter - I haven't used it in a while, as most fluorescent lamps I encounter seem to be closer to daylight balanced now. But I used to use it a lot for shooting inside various locations. It is a PITA to print if you also have a window in the frame, though. Requires split filter color printing, which is a nightmare to me. If you end up with a blue window when correcting for tungsten indoor light, it can look OK, and vice versa. However, a pink window when correcting for fluorescent light is pretty ugly.
This being said, I don't really monkey with the filters that often unless shooting on a tripod with plenty of time. But if shooting negative film, I do give an extra stop or so of exposure in "off-colored" light if possible. This assures that all the color layers get enough exposure to properly balance the film across the entire tonal range when printing.